Cogent Arts & Humanities

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Community-based theatre: Critical pedagogy for

promoting social connectedness recovery in the
post-pandemic era

Lulu Jiang & Farideh Alizadeh

To cite this article: Lulu Jiang & Farideh Alizadeh (2023) Community-based theatre: Critical
pedagogy for promoting social connectedness recovery in the post-pandemic era, Cogent Arts
& Humanities, 10:1, 2198311, DOI: 10.1080/23311983.2023.2198311

To link to this article: https://doi.org/10.1080/23311983.2023.2198311

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Published online: 09 Apr 2023.

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Jiang & Alizadeh, Cogent Arts & Humanities (2023), 10: 2198311
https://doi.org/10.1080/23311983.2023.2198311

VISUAL & PERFORMING ARTS | RESEARCH ARTICLE

Received: 24 December 2022
Accepted: 29 March 2023
*Corresponding author: Farideh
Alizadeh, Department of Drama,
Faculty of Creative Arts, University of
Malaya, 50603, Kuala Lumpur
Malaysia
E-mail: farideh@um.edu.my
Reviewing editor:
Nomusa Makhubu, University of
Cape Town, South africa
Additional information is available at
the end of the article
Community-based theatre: Critical pedagogy for
promoting social connectedness recovery in the
post-pandemic era
Lulu Jiang1 and Farideh Alizadeh2*
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 com­
munity-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.

Subjects: Educational Psychology; Theatre & Performance Studies; Performance Theory

ABOUT THE AUTHORS PUBLIC INTEREST STATEMENT

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.
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 profes­
sional with a Doctor of Philosophy (Ph.D.)
focused on Art Theory from the University of
Malaya.
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 devel­
opment, both individually and collectively.
A person’s ability to establish and maintain rela­
tionships 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 indi­
cated that community-based theatre emerged as
a promising strategy for enhancing social cohe­
sion and response following a pandemic.

© 2023 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group.
This is an Open Access article distributed under the terms of the Creative Commons Attribution
License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribu­
tion, and reproduction in any medium, provided the original work is properly cited. The terms on
which this article has been published allow the posting of the Accepted Manuscript in
a repository by the author(s) or with their consent.

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Keywords: community-based theatre; critical pedagogy; social connectedness;

empowerment; post-pandemic era

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, includ­
ing 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 dis­
order as well as behavioural changes, such as avoiding crowded places and repeatedly washing
their hands (Brooks et al., 2020). (See Figure 1).

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 increas­
ingly 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 con­
structivist 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

Figure 1. Images in image

theatre in the theatre workshop
depicting participants
experiences.

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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 under­
standing 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 useful­
ness of community-based theatre in empowering individuals to promote their critical understand­
ing 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 indivi­
duals’ 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:

(i) To examine the causes of problems and oppressors of participants in community-based

theatres in the post-pandemic context.
(ii) To assess theatre techniques and strategies as critical pedagogies to facilitate personal
development and social connections.
(iii) 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

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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 reflec­
tion. 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 domesti­
cated 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 dynamisa­
tion, 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

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(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 affec­
tive skills, such as problem-solving. In addition, it encourages the expression of emotions, facil­
itates 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

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

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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 To introduce the session
participants
Preparation 5 min Prepare the setting and To get the participants
props involved in the setting
Warming up 20 min Theatre games (Boal, To stimulate muscles and
2005) reduce pressure
Main theatre activities 30 min Image Theatre (Boal, To explore unconscious
2013) 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, To act out conflicting
2013) 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 To end the session
comments

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).

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 bank­
ruptcy 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.

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Table 4. Themes, sub-themes, and supporting quotes related to the issue of social connections
Themes Sub-themes Illustrative Quotes
Economic Unstable employment; Financial I am not confident about being
instability pressure 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 I have had online classes for
parental burden 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 There are not too many social
social places 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 During the time the cinemas were
home 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 I really like taking part in social
behaviours 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.

(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 entertain­
ment, 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.

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

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 pre­
sented 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.

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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.

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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 motheris a very traditional-minded and conservative
person and usually interfereswith some of my decisions. I experienced a rebellious period
when I was havingregular conflicts with her. I always opposed what she said. . . whether it
was goodor bad. We have discussed this extensively during the quarantine. However, whenI
had to attend university, I was unwilling to leave her. She relied on andloved me. I realised
and understood many things about our relationship duringmy 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.

(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 con­
fident. 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.

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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 connected­
ness, 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 relation­
ships. 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 aware­
ness 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 ele­
ments. The results will be beneficial for understanding the complexities and possibilities of devel­
oping a field vision in theatrical form during the pandemic.

As a specific subject, community-based theatre as critical pedagogy has substantially con­

tributed 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 disco­

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Table 5. Themes, sub-themes and supporting quotes related to connection
Themes
From the unfamiliar to the familiar
Feeling good after meeting people
Becoming confident
Easier to share feelings with people
who do not know you
Sub-themes
Interaction; Change of relationship
Someone can share the story;
Learn something from others
Find one’s worth; Improved ability
to express oneself
Few concerns; Good listeners
Illustrative Quotes
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.
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.
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.
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.
(Continued)
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Table5. (Continued)
Themes
Safe place to play and relax
Sub-themes
Dramatic setting; No judgements
Illustrative Quotes
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.

vering 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 theore­
tical, practical and experiential development of critical pedagogy by providing support for indivi­
duals, 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.

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Author details
Lulu Jiang1
ORCID ID: http://orcid.org/0000-0002-3676-9095
Farideh Alizadeh2
E-mail: farideh@um.edu.my
ORCID ID: http://orcid.org/0000-0001-5695-5314
Nomusa Makhubu
1
Faculty of Creative Arts, University of Malaya, Kuala
Lumpur, Malaysia.
2
Department of Drama, Faculty of Creative Arts,
University of Malaya (UM), Kuala Lumpur, Malaysia.
Disclosure statement
No potential conflict of interest was reported by the authors.
Citation information
Cite this article as: Community-based theatre: Critical
pedagogy for promoting social connectedness recovery in
the post-pandemic era, Lulu Jiang & Farideh Alizadeh,
Cogent Arts & Humanities (2023), 10: 2198311.
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