The Spirited Foxes: The Confluence of Storytelling and Story Listening. Timothy J. Reagan. GEXTP 8003 Philosophical Foundations

Transcription

1 The Spirited Foxes: The Confluence of Storytelling and Story Listening Timothy J. Reagan GEXTP 8003 Philosophical Foundations Expressive Therapies Doctoral Program Lesley University November 28, 2011

2 Reagan/2 Each of us has an inner teacher that is an arbiter of truth, and each of us needs the give-and-take of community in order to hear that inner teacher speak (Palmer, 1998, p. 152). George Fox (G. Fox) founded Quakerism in the mid-1650s (Brinton, 1994, p. 7). Jonathan Fox (J. Fox) founded the drama therapy form of Playback Theatre (Playback) in the mid-1970s (Rowe, 2007, p. 18). Both Foxes were trendsetters who bravely asserted their convictions giving communities permission to access and learn from that still small voice within. In the case of G. Fox, the inner teacher, or inner spirit, was accessed during the traditional silent gathering of Quaker Meeting for Worship when perhaps someone was inspired to offer a message or prayer. For J. Fox, it was the moment during a Playback performance when an audience member revealed their inner voice while sharing a personal story to be replayed by a company of actors. In both scenarios, personal stories are told and listened to - in community. Despite being separated by more than 300 years, G. Fox and J. Fox are connected by their inspirations for meaningful and compassionate human contact through storytelling and story listening. They are The Spirited Foxes. George Fox The Inner Light is a Divine Spark which, when nurtured, can illuminate our lives. A Divine Light in each of us that deserves our loving attention. A divine presence in each person which influences our decision-making, leads us to the truths we seek, and commands our highest respect (Lacey, 1998, p. 19). In the mid-1650s, G. Fox began the religious movement of Quakerism as a response to the restrictions of the outward forms of rituals, creeds, hymns, sacred books,

3 Reagan/3 and sermons of the Church of England (Brinton, 1994, p. 15). His rebellion was a reaction to the oppressive restraints imposed upon religious freedom (Middleton, 1931, p. 593). G. Fox thought the dogma of religion in the 1660s had grown arrogant, and should not be forced upon people (Journal, p. 609; Middleton, 1931, p. 594). He was determined to bring the world off of the rudiments of religious ceremonies and doctrines, which he felt were in vain (G. Fox, Journal, p. 36). The center of the G. Fox s Quaker movement was that of God in every man (Brinton, 1994, p. 14). G. Fox believed that the Light of God was accessible within every person, and that this shared bond was very important in interpersonal relations (Bauman, 2003, p. 69). The Inner Light was a manifestation of the Spirit of God and lighted every man withal (Journal of George Fox, p. 34). G. Fox also believed that the best kind of religious experience was one in which no words were necessary (Bauman, 1970, p. 72). At the heart of Quaker spirituality was, and still is, Meeting for Worship: silent and expectant waiting, void of ritual, dogma and leadership (p. 59). During this initiated silent waiting upon the Lord, a participant may feel led to share a message with those present, followed by more silence until after a period of time when worshippers shake hands with those around them signifying the end of Meeting (Birkel, 2004, p. 40). G. Fox instructed Quakers to be patterns, be examples in all countries, islands, nations, where-ever you come; that your life and conduct may preach among all sorts of people, and to them: (G. Fox, 1839, p. 232). G. Fox s beliefs left a legacy that has been tested by time. In the nineteenth century, for example, Quakers played a major role in the evolution of the care of those with mental illness, and were instrumental in the asylum reforms in the United Kingdom and the United States (Stanley, 2010, p. 548). Quakers

4 Reagan/4 brought elements of moral treatment to transform those labeled insane and introduced treatments still practiced today, including comfort, activities to occupy patients, and talk therapy (p. 550). Their principles have become part of the fabric of contemporary society and culture, despite its low worldwide membership of approximately 358,923 (Quaker Information Center, 2011). In 1947, two Quaker organizations jointly received the Nobel Peace Prize: Friends Service Council (The Quakers), founded in London in 1647, and American Friends Service Committee (The Quakers), founded in Washington in 1672 (Nobel Peace Prize Internet Archive, 2011). Jonathan Fox The lessons I learned in Monthly Meeting as an elementary school student at Brooklyn Friends School never left me and contributed in no small way to the development of Playback Theatre. In Playback Theatre, the stories emerge from silence; instead of a text delivered by an expert, the text comes from the community; no one is privileged above anyone else; we value listening; and we cherish the deep dialogue that comes from such an empathic exchange. Thus Playback Theatre becomes another approach to the teaching of core Quaker values (J. Fox, personal communication, October 27, 2003). J. Fox started Playback in response to the controlled and constructed environment of literary theatre (J. Fox, 1994, p. 53). It was the perfect union for J. Fox as it combined the influences of his early exposure to Quakerism and his developed distaste for the competitive, sometimes narcissistic aspects of the world of the mainstream theatre with the experimental and avant-garde theatre movements of the early 1970s (Rowe, 2007, p.18; Dennis, 2004, p. 14). In the course of creating this drama therapy form validating

5 Reagan/5 personal experience and advocating for social justice, J. Fox was exposed to and influenced by the work Jacob Moreno, founder of psychodrama and group methods (J. Fox, 1994, p. 58). After years of exploration and experimentation, Playback emerged into a non-scripted, interactive and healing form of theatrical improvisation in which people tell personal events from their lives, and then watch them enacted live in front of an audience (Salas, 2007, p. 6; J. Fox, 1986, p. 5). The Playback experience crosses social barriers, develops empathic listening skills, and allows people to turn inwards to access, share and listen to personal stories. An estimated 100,000 people now use Playback worldwide with Playback companies in more than 55 countries (H. Fox, 2007, p. 95), including one troupe at Sidwell Friends School (SFS), a Quaker school in Washington, DC. Discussion The telling of stories has been a favorite pastime throughout the world (Fox, 1994, p. 15). Storytellers assumed the responsibility of teaching communities through anecdotes, tales, and legends (p. 17). Today, the drama therapy form of Playback has taken on the role of the storyteller and story listener. Playback performances are intimate and inclusive; a forum where the human experience is presented and listened to in their natural state (J. Fox, 1994, p. 48). Dennis (2004) said that Playback is a theatre of listening more than a theatre of telling (p. 21). Listening to the Spirit, as advised by the Quakers, enables one to hear where the words come from when others speak (Baltimore Yearly Meeting, 2010, p. 64). Not unlike the experience of Quaker Meeting for Worship, the metalevel of community unites synergistically when a story is shared in the form of Playback (J. Fox, 1994, p. 34). Playback Theatre and Quaker Meeting for

6 Reagan/6 Worship make space available for people to express and deeply listen to real life stories: from the mundane to the magnificent. G. Fox believed one cannot know the Truth in a way that is devised by a creed or dogma. In the drama therapy form of Playback, art and therapy are twinned and dogmatism does not thrive (J. Fox, 1994, p. 120). When a person is moved by the spirit to speak during Meeting for Worship, all listen in the spirit of seeking to hear the word of God from the mouth of the speaker (King, 1998, p. 23). Similarly, in Playback when one shares a story, all listen in a communal act of affirmation (Fox, 1994, p. 152). Spiritual empowerment is visible in both paradigms. G. Fox said if we hearken to that inner Teacher, or that of God within, and walk in the Light, we may be perfected and sanctified (King, 1998, p. 11). London (2006) posited that the spirit is the core of one s beliefs - anything a person holds to be of ultimate value, and that the arts are spiritually informed language (p. 12). J. Fox publicly reveals and validates this spiritually informed language in community, as audience members share personal stories within the safety of the container of a Playback performance. Any act may have a symbolic significance above and beyond its immediate frame of reference symbolic action for which G. Fox says: Let your lives speak (Bauman, 1970, p. 74). Quakers and those who witness and/or perform Playback cherish these empathic listening experiences in their communities; especially because both paradigms allow for marginalized voices to be heard (Rowe, 2007, p. 171). Over the years, Quakers and Playback have maintained the process of recollection through personal and communal storytelling which has given rise to many areas of social change and justice (p. 161).

7 Reagan/7 Quakers, although they have no doctrine, adhere to the Peace Testimony which states "we utterly deny all outward wars and strife and fightings with outward weapons, for any end or under any pretence whatsoever - this is our testimony to the whole world" (Quakerinfo, 2011). This perspective oftentimes determines the social action or position adopted by members of a Quaker Meeting. The direction taken may be a non-violent protest, letter writing campaign, or simply holding someone or some issue in the Light during Quaker Meeting. In the case of J. Fox, that direction is Playback. J. Fox said it [Playback] is more sustaining than People magazine, unquestionably better than nuclear armaments, and arguably more relevant than church (J. Fox, 1994, p. 213). As psychology becomes more friendly 1 to approaches of the value of the phenomenological experience, perhaps the healing power of the story itself through the Playback aesthetic experience will eventually be fully comprehended (Salas, 1993, p. 128). In the meantime, let your stories speak! 1 Friends is a term that indicates one is a Quaker and a member of the Religious Society of Friends (Baltimore Yearly Meeting, 2010, p. 168). Perhaps one may eventually be able to call G. Fox & J. Fox BFFs (Reference, 2011): best Friends forever!

8 Reagan/8 References Baltimore Yearly Meeting. (2010). Faith and practice of Baltimore yearly meeting of the religious society of friends (Quakers). Sandy Spring, MD: The Quaker Heron Press. Bauman, R. (1970). Aspects of 17 th century Quaker rhetoric. Quarterly Journal of Speech. Vol. 56 (1). Birkel, M. (2004). Silence and Witness: The Quaker Tradition. Maryknoll, NY: Orbis Books. Brinton, Howard. (1994). Friends for 300 years. Wallingford, PA: Pendle Hill. Carter, S. (1996). George Fox. In Worship in Song: A Friends Hymnal. Philadelphia, PA: Friends General Conference. Collier, H. (1948). Review of George Fox s book of miracles. Journal of Friends Historical Society, 40 (23). Dennis, Rea. (2004). Public performance, personal story: a study of playback theatre. (Doctoral dissertation). Retrieved from Fox, G. (1839). A journal or historical account of the life, travels, sufferings, Christian experiences, and labour of love in the work of the ministry of that ancient, eminent, and faithful servant of Jesus Christ, George Fox, volume I. Philadelphia, PA: Kimber & Sharpless. Fox, H. (2007). Playback Theatre: Inciting Dialogue and Building Community through Personal Story. TDR: The Drama Review, 51(4). Fox, J. (1994). Acts of service: spontaneity, commitment, tradition in the nonscripted

9 Reagan/9 theatre. New Paltz, NY: Tusitala Publishing. King, S. (1998). Transformative Nonviolence: The social ethics of George Fox and Thich Nhat Hanh. Buddhist-Christian Studies, Vol. 18. Lacey, P. (1998). Growing Into Goodness. Wallingford, PA: Pendle Hill Publications. London, P. (2006). Towards a Holistic Paradigm of Art Education Art Education: Mind, Body, Spirit. Visual Arts Research, 32(1). Middleton, W. (1931). The denunciations of George Fox viewed psychologically. The Journal of Religion, Vol. 11(4). Nobel Peace Prize Internet Archive. (2011, September 21). Nobel Peace Prize Winners Retrieved from Palmer, P. (1998). The Courage to Teach: Exploring the Inner Landscape of a Teacher s Life. San Francisco, CA: Jossey-Bass. Quakerinfo. (2011, November 17). What is the Friends Peace Testimony? Retrieved from Reference. (2011, November 25). Retrieved from Rowe, N. (2007). Playing the other: dramatizing personal narratives in playback theatre. London, UK: Jessica Kingsley Publishers. Salas, J. (2007). Improvising real life: personal story in playback theatre. New Paltz, NY: Tusitala Publishing. Stanley, J. (2010). Inner night and inner light: a Quaker model of pastoral care for the mentally ill. Journal of Religion and Health, Vol. 49 (4). Appendix

10 Reagan/10 George Fox There's a light that is shining in the heart of a man, It s the light that was shining when the world began. There's a light that is shining in the Turk and the Jew, And a light that is shining, friend, in me and in you. Refrain: Walk in the light, wherever you may be, Walk in the light, wherever you may be! In my old leather breeches and my shaggy, shaggy locks, I am walking in the glory of the light, said Fox. With a book and a steeple and a bell and a key They would bind it forever but they can't, said he. Oh, the book, it will perish, and the steeple will fall, But the light will be shining at the end of it all. Refrain "Will you swear on the Bible?" I will not," said he, "For the truth is as holy as the Book to me." "If we give you a pistol, will you fight for the Lord?" "You can't kill the devil with a gun or a sword." Refrain There's an ocean of darkness and I drowned in the night Till I came through the darkness to the ocean of light;

11 Reagan/11 You can lock me in prison but the light will be free. And I'll walk in the glory of the light, said he. Refrain (Carter, 2004, p. 272)