An Aesthetic of Relationality: Exploring the Intersection of Embodiment, Imagination and Foolishness in Research-informed Theatre

Despite that qualitative health researchers cite the embodied nature of performance as a way to move beyond the constraints of the written word and draw multiple perspectives into their research practices, much research-informed theatre is informed by an â aesthetic of objectivityâ (Denzin, 2003, p. 73). Researchers taking up this perspective assume a linear trajectory between research findings and performed representation, overlooking the multiple embodied perspectives that are implicated in the development of research-informed theatre. To challenge this assumption I explore how artist-researchers draw on their own embodiment and imagination as ways to understand the research findings, how they conceptualize the intended audience, and how those understandings shape the creative process of the research-informed play. Using the case study of Cracked: new light on dementia (I am the playwright and director) I focus my analysis on three concepts: embodiment (the interrelationship between body and social/cultural/historical spaces), imagination (extending beyond oneâ s own experience to relate to and envision that of another person) and foolishness (engaging bravely and vulnerably with a willingness to fail). Throughout their work artist-researchers playfully extend from their own embodiment towards the experiences of other people using a multiplicity of actions, such as word choice/language, movement, spacing and timing. Central to this playful extending is a disruption of their own embodiment and surrounding social/cultural/historical spaces that itself requires a willingness to fail. Audience members are assumed to participate in the performance and the play is created to support their playful extending with the potential that they might also become foolishly disrupted. Artist-researchers draw on the artistic form of theatre to aesthetically explore ideas, concepts and experiences, inviting other people to explore with them. The aesthetic space created by the ways artist-researchers playfully extend and foolishly/inventively disrupt is called an aesthetic of relationality. An aesthetic of relationality provides multiple people with a unique space to aesthetically explore the interrelationship between their own bodily horizons and surrounding social/cultural/historical spaces as well as a planning and evaluative frame for research-informed theatre.Ph.D