Skip to main content
SpringerLink
Log in

Ethics: Principles and Guidelines for Ethical Practice When Using Personal Stories in the Theater

  • Chapter
  • First Online:
Staging the Personal

Abstract

This chapter focuses on the ethics of using personal and collective stories in theater workshops, rehearsals and performances. The chapter surveys existing scholarship focused on ethics in participatory theater-making, including theater-making using personal stories, and suggests a range of ethical principles and guidelines. An important ethical concern is the potential risk of reinforcing oppression and unequal power relations in the very process of staging personal stories. To address this concern, the chapter offers a model for conceptualizing risk and vulnerability in the context of theater and performance that draws on personal stories.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Log in via an institution
Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 84.99
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 109.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 109.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

References

  • Ackroyd, J. (2007). Applied theater: An exclusionary discourse? www.griffith.edu.au/__data/assets/pdf_file/0005/52889/01-ackroyd-final.pdf. Accessed 24 Apr 2015.

  • Adichie, C. N. (2009). The danger of a single story TED Talk. www.ted.com/talks/chimamanda_ngozi_adichie_the_danger_of_a_single_story. Accessed 27 Feb 2020.

  • Ahmed, S. J. (2002). Wishing for a world without “theater for development”: Demystifying the case of Bangladesh. Research in Drama Education: The Journal of Applied Theater and Performance, 7(2), 207–219.

    Google Scholar 

  • Arendt, H. (1968). Men in dark times. San Diego: Harcourt Brace.

    Google Scholar 

  • Baker, E. S. (2014). A therapist moving beyond therapy into applied theater practice: A personal account by a Rogerian practitioner. Unpublished PhD thesis, University of Exeter.

    Google Scholar 

  • Bakhtin, M. (1981). In M. Holquist (Ed.), The dialogic imagination: Four essays. Trans. C. Emerson and M. Holquist. Austin: University of Texas Press.

    Google Scholar 

  • Bakhtin, M. (1993). In V. Liapunov & M. Holquist (Eds.), Toward a philosophy of the act. Trans. V. Liapunov. Austin: University of Texas Press.

    Google Scholar 

  • Balfour, M. (2009). The politics of intention: Looking for a theater of little changes. Research in Drama Education, 14(3), 347–359.

    Google Scholar 

  • Balfour, M. (Ed.). (2013). Refugee performance: Practical encounters. Bristol: Intellect.

    Google Scholar 

  • Balfour, M., Westwood, M., & Buchanan, M. (2014). Protecting into emotion: Therapeutic enactments with military veterans transitioning back into civilian life. Research in Drama Education: The Journal of Applied Theater and Performance, 19(2), 165–181.

    Google Scholar 

  • Barnes, S. (2009). Drawing a line: A discussion of ethics in participatory arts with young refugees. In S. Barnes (Ed.), Participatory arts with young refugees. London: Arts in Education, Ovalhouse Theater.

    Google Scholar 

  • Bartlett, A. (2011). Preventing violent extremism and “not in my name”: Theatrical representation, artistic responsibility and shared vulnerability. Research in Drama Education: The Journal of Applied Theater and Performance, 16(2), 173–195.

    Google Scholar 

  • Beck, U. (1992). The risk society. Thousand Oaks: Sage.

    Google Scholar 

  • Beck, U. (2006). Living in the world risk society: A Hobhouse memorial public lecture. Economy and Society, 35(3), 329–345.

    Google Scholar 

  • Benjamin, W. (1936). The work of art in the age of mechanical reproduction. Trans. J. A. Underwood. London: Penguin.

    Google Scholar 

  • Benjamin, W. (1978). Reflections: Essays, aphorisms, autobiographical writings. New York: Harcourt Brace Jovanovich.

    Google Scholar 

  • Berlin, I. (2002). Liberty. Oxford: Oxford University Press.

    Google Scholar 

  • Bharucha, R. (2011). Problematising applied theater: A search for alternative paradigms. Research in Drama Education: The Journal of Applied Theater and Performance, 16(3), 366–384.

    Google Scholar 

  • Bishop, K. (2014). Six perspectives in search of an ethical solution: Utilising a moral imperative with a multiple ethics paradigm to guide research-based theater/applied theater. Research in Drama Education: The Journal of Applied Theater and Performance, 19(1), 64–75.

    Google Scholar 

  • Boal, A. (1995). The rainbow of desire: The Boal method of theater and therapy. Trans: A. Jackson. London: Routledge.

    Google Scholar 

  • Boal, A. (1998). Legislative theatre: Using performance to make politics. Trans: A. Jackson. London: Routledge.

    Google Scholar 

  • Breen, A. (2015). Aesthetic relationships and ethics in The Oh Fuck Moment. Research in Drama Education: The Journal of Applied Theater and Performance, 20(1), 39–49.

    Google Scholar 

  • Brooker, P. (2003). A glossary of cultural theory. London: Arnold.

    Google Scholar 

  • Bundy, P. (2009). The performance of trauma. In T. Prentki & S. Preston (Eds.), The applied theater reader. Abingdon: Routledge.

    Google Scholar 

  • Burvill, T. (2013). Politics begins as ethics: Levinasian ethics and Australian performance concerning refugees. In M. Balfour (Ed.), Refugee performance: Practical encounters. Bristol: Intellect.

    Google Scholar 

  • Butler, J. (1997). The psychic life of power: Theories in subjection. Stanford: Stanford University Press.

    Google Scholar 

  • Caruth, C. (1996). Unclaimed Experience: Trauma, narrative and history. Baltimore: Johns Hopkins University Press.

    Google Scholar 

  • Chang, H. (2016). The development of drama therapy in Taiwan. In S. Jennings & C. Holmwood (Eds.), Routledge international handbook of dramatherapy. London: Routledge.

    Google Scholar 

  • Cizmic, M. (2012). Performing pain: Music and trauma in Eastern Europe. Oxford: Oxford University Press.

    Google Scholar 

  • Cohen, L., & Manion, L. (1994). Research methods in education. London: Routledge.

    Google Scholar 

  • Cohen-Cruz, J. (2005). Local acts: Community-based performance in the United States. New Brunswick: Rutgers University Press.

    Google Scholar 

  • Cohen-Cruz, J. (2006). Redefining the private: From personal storytelling to political act. In J. Cohen-Cruz & M. Schutzman (Eds.), A Boal companion. Dialogues on theater & cultural practices. London: Routledge.

    Google Scholar 

  • Cohen-Cruz, J., & Schutzman, M. (Eds.). (1994). Playing Boal: Theater, therapy, activism. London: Routledge.

    Google Scholar 

  • Conquergood, D. (1985). Performing as a moral act: Ethical dimensions of the ethnography of performance. Literature in Performance, 5, 1–13.

    Google Scholar 

  • Cooper, S. (2007). Introduction – The occluded relation: Levinas and cinema. Film-Philosophy, 11(2), i–vii.

    Google Scholar 

  • Crew, R. (2007). The ethics of reality television producers. Media Ethics, 18(2), 10–19.

    Google Scholar 

  • Critchley, S., & Bernaconi, R. (Eds.). (2002). The Cambridge companion to Levinas. Cambridge: Cambridge University Press.

    Google Scholar 

  • De Certeau, M. (1984). The practice of everyday life. Trans. S. Rendall. Berkeley: University of California Press.

    Google Scholar 

  • Diamond, E. (1992). The violence of “we”: Politicizing identification. In J. G. Reinelt & J. R. Roach (Eds.), Critical theory and performance. Ann Arbor: University of Michigan.

    Google Scholar 

  • Downing, L. (2004). Patrice Leconte [French film directors series]. Manchester: Manchester University Press.

    Google Scholar 

  • Downing, L., & Saxton, L. (2010). Film and ethics: Foreclosed encounters. London: Routledge.

    Google Scholar 

  • Duggan, P. (2007). Feeling performance, remembering trauma. Platform, 2(2), 44–58.

    Google Scholar 

  • Duggan, P. (2012). Trauma-tragedy: Symptoms of contemporary performance. Manchester: Manchester University Press.

    Google Scholar 

  • Edmiston, B. (2000). Drama as ethical education. Research in Drama Education, 5(1), 63–84.

    Google Scholar 

  • Edmondson, L. (2005). Marketing trauma and the theater of war in northern Uganda. Theater Journal, 57(3), 451–474.

    Google Scholar 

  • Eldhose, A., & Das, N. (2015). Theater for re-education: Experimenting with documentary form in Kerala. Research in Drama Education: The Journal of Applied Theater and Performance, 20(4), 490–500.

    Google Scholar 

  • Etherton, M., & Prentki, T. (2006). Drama for change? Prove it! Impact assessment in applied theater. Research in Drama Education: The Journal of Applied Theater and Performance, 11(2), 139–155.

    Google Scholar 

  • Evans, B., & Giroux, H. (2015). Disposable futures: The seduction of violence. San Francisco: City Lights Booksellers and Publishers.

    Google Scholar 

  • Evans, D., Akerman, S., & Tripp, J. (2009). Where professional actors are too “good”. In S. Jennings (Ed.), Dramatherapy and social theater: Necessary dialogues. Hove: Routledge.

    Google Scholar 

  • Fanon, F. (1967). The wretched of the earth. London: Penguin Modern Classics. (Originally published 1961).

    Google Scholar 

  • Felman, S., & Laub, D. (1992). Testimony: Crises of witnessing in literature, psychoanalysis and history. New York: Routledge.

    Google Scholar 

  • Flyvbjerg, B. (1998). Habermas and Foucault: Thinkers for civil society? British Journal of Sociology, 49(2), 210–233.

    Google Scholar 

  • Flyvbjerg, B. (2001). Making social science matter: Why social inquiry fails and how it can succeed again. Cambridge: Cambridge University Press.

    Google Scholar 

  • Flyvbjerg, B. (2004). Phronetic planning research: Theoretical and methodological reflections. Planning Theory and Practice, 5(3), 283–306.

    Google Scholar 

  • Flyvbjerg, B., & Landman, T. (2012). In S. Schram (Ed.), Real social science: Applied Phronesis. Cambridge: Cambridge University Press.

    Google Scholar 

  • Foucault, M. (2006). History of madness. New York: Routledge. (Originally published 1961).

    Google Scholar 

  • Fox, J. (2009). Playback theater in Burundi: Can theater transcend the gap? In T. Prentki & S. Preston (Eds.), The applied theater reader. Abingdon: Routledge.

    Google Scholar 

  • Freire, P. (1972). Pedagogy of the oppressed. Baltimore: Penguin.

    Google Scholar 

  • Freire, P. (1974). Education for critical consciousness. London/New York: Bloomsbury Academic.

    Google Scholar 

  • Gallagher, K. (2006). Pondering ethics. Research in Drama Education, 11(1), 96–98.

    Google Scholar 

  • Garber, M., Hanssen, B., & Walkowitz, R. (Eds.). (2000). The turn to ethics. London: Routledge.

    Google Scholar 

  • Garde, U., & Mumford, M. (2016). Theater of real people: Diverse encounters at Berlin’s Hebbel am Ufer and beyond. New York/London: Bloomsbury Methuen Drama.

    Google Scholar 

  • Giddens, A. (1991). Modernity and self-identity: Self and society in the late modern age. Cambridge: Polity Press.

    Google Scholar 

  • Gjærum, R. (2013). Applied theater research: Discourses in the field. European Scientific Journal, 3, 347–361.

    Google Scholar 

  • Heritage, P. (2004). Real social ties? The ins and outs of making theater in Brazilian prisons. In M. Balfour (Ed.), Theater in prison: Theory and practice (pp. 189–202). Bristol: Intellect.

    Google Scholar 

  • Hess, A. (2017). ‘Defying the “open secret.”’ New York Times, 3rd December.

    Google Scholar 

  • Hill, A. (2005). Reality TV: Audiences and popular factual television. New York: Routledge.

    Google Scholar 

  • Hudgins, K., & Toscani, F. (Eds.). (2013). Healing world trauma with the therapeutic spiral model: Psychodramatic stories from the front lines. London: Jessica Kingsley.

    Google Scholar 

  • Hughes, J., & Ruding, S. (2009). Made to measure? A critical interrogation of applied theater as intervention with young offenders in the UK. In T. Prentki & S. Preston (Eds.), The applied theater reader. Abingdon: Routledge.

    Google Scholar 

  • Jeffers, A. (2008). Dirty truth: Personal narrative, victimhood and participatory theater work with people seeking asylum. Research in Drama Education: The Journal of Applied Theater and Performance, 13(2), 217–221.

    Google Scholar 

  • Jeffers, A. (2013). Hospitable stages and civil listening: Being an audience for participatory refugee theater. In M. Balfour (Ed.), Refugee performance: Practical encounters. Bristol: Intellect.

    Google Scholar 

  • Joseph, C. O. (2005). Theater for development in Kenya: Interrogating the ethics of practice. Research in Drama Education: The Journal for Applied Theater and Performance, 10(2), 189–199.

    Google Scholar 

  • Kandil, Y. (2016). Personal stories in applied theater contexts: Redefining the blurred lines. Research in Drama Education: The Journal of Applied Theater and Performance, 21(2), 201–213.

    Google Scholar 

  • Karpman, S. (1968). Fairy tales and script drama analysis. Transactional Analysis Bulletin, 26(7), 39–43.

    Google Scholar 

  • Kaufman, M., Fondakowski, L., Pierotti, G., Paris, A., & Belber, S. (2014). The Laramie project: Ten years later. New York: Vintage.

    Google Scholar 

  • Kerr, D. (2009). Ethics of applied theater. South African Theater Journal, 23(1), 177–187.

    Google Scholar 

  • Khaiat, K. (2011). Accountable and theatrical acts of witness: Queen’s University DRAM 476 testimonial project pieces 2010. Canadian Theater Review, 147(summer), 86–88.

    Google Scholar 

  • Kirkeby, I., & Flyvbjerg, B. (2011). Transferable knowledge: An interview with Bent Flyvbjerg. Architectural Research Quarterly, 15(1), 9–14.

    Google Scholar 

  • LaFrance, M. (2013). The disappearing fourth wall: Law, ethics, and experiential theater. Vanderbilt Journal of Entertainment & Technology Law, 15(3), 507–582.

    Google Scholar 

  • Landy, R., & Montgomery, D. (2012). Theater for change: Education, social action and therapy. Basingstoke: Palgrave Macmillan.

    Google Scholar 

  • Leffler, E. (2012). Replacing the sofa with the spotlight: Interrogating the therapeutic value of personal testimony within community-based theater. Research in Drama Education: The Journal of Applied Theater and Performance, 17(3), 347–353.

    Google Scholar 

  • Levak, R. (2003). The dangerous reality of reality television. Television Week, 22nd September, p. 14.

    Google Scholar 

  • Levinas, E. (1969). Totality and infinity. Trans. A. Lingis. Pittsburgh: Duquesne University Press. (First published 1961).

    Google Scholar 

  • Levinas, E. (1991). Otherwise than being, or beyond essence. Trans. A. Lingis. Dordrecht: Kluwer Academic Publishers. (First printing 1974).

    Google Scholar 

  • Lumsden, S. (2000). Absolute difference and social ontology: Levinas face to face with Buber and Fichte. Human Studies, 23(3), 227–241.

    Google Scholar 

  • Martin, C. (Ed.). (2012). Dramaturgy of the real on the world stage. Basingstoke: Palgrave Macmillan.

    Google Scholar 

  • Mast, J. (2016). The dark side of reality TV: Professional ethics and the treatment of reality show participants. International Journal of Communication, 10, 2179–2200.

    Google Scholar 

  • Mattingly, C. (1998). Healing dramas and clinical plots: The narrative structure of experience. Cambridge: Cambridge University Press.

    Google Scholar 

  • McAvinchey, C. (2009). “Is this the play?”: Applied theater practice in a pupil referral unit. In T. Prentki & S. Preston (Eds.), The applied theater reader. Abingdon: Routledge.

    Google Scholar 

  • McDonnell, B. (2005). The politics of historiography: Towards an ethics of representation. Research in Drama Education: The Journal of Applied Theater and Performance, 10(2), 127–138.

    Google Scholar 

  • Melville, C. (2017). Valuing tradition: Mali’s Jeliw, European publishers and copyright. Journal of World Popular Music, 4(1), 10–44.

    Google Scholar 

  • Mienczakowski, J. (1997). Theater of change. Research in Drama Education: The Journal of Applied Theater and Performance, 2(2), 159–172.

    Google Scholar 

  • Monbiot, G. (2016). How did we get into this mess?: Politics, equality, nature. London/New York: Verso.

    Google Scholar 

  • Neelands, J. (2009). Acting together: Ensemble as a democratic process in art and life. Research in Drama Education: The Journal of Applied Theater and Performance, 14(2), 173–189.

    Google Scholar 

  • Nicholson, H. (2009). Re-locating memory: Performance, reminiscence and communities of diaspora. In T. Prentki & S. Preston (Eds.), The applied theatre reader. Abingdon: Routledge.

    Google Scholar 

  • O’Toole, J. (2009). Writing everyday theater: Applied theater, or just TIE rides again? Research in Drama Education: The Journal of Applied Theater and Performance, 14(4), 479–501.

    Google Scholar 

  • Österlind, E. (2008). Acting out of habits – Can theater of the oppressed promote change? Boal’s theater methods in relation to Bourdieu’s concept of habitus. Research in Drama Education: The Journal of Applied Theater and Performance, 13(1), 71–82.

    Google Scholar 

  • Pendzik, S., Emunah, R., & Johnson, D. R. (2016). The self in performance: Autobiographical, self-revelatory, and autoethnographic forms of therapeutic theater. New York: Palgrave Macmillan.

    Google Scholar 

  • Petersen, A., & Olsson, J. (2015). Calling evidence-based practice into question: Acknowledging phronetic knowledge in social work. British Journal of Social Work, 45, 1581–1597.

    Google Scholar 

  • Phelan, P. (1993). Unmarked: The politics of performance. Abingdon: Routledge.

    Google Scholar 

  • Pine, J., & Gilmore, J. (1999). The experience economy. Boston: Harvard Business School Press.

    Google Scholar 

  • Platt, L. (2020). Artist wellbeing home page. wwww.artistwellbeing.com. Accessed 1 August 2020.

    Google Scholar 

  • Prendergast, M., & Saxton, J. (Eds.). (2009). Applied theater: International case studies and challenges for practice. Bristol: Intellect.

    Google Scholar 

  • Preston, S. (2009). Introduction to ethics of representation. In T. Prentki & S. Preston (Eds.), The applied theater reader. Abingdon: Routledge.

    Google Scholar 

  • Preston, S. (2016). Applied theater: Facilitation – Pedagogies, practices, resilience. London: Bloomsbury Methuen.

    Google Scholar 

  • Rawls, J. (1971). A theory of justice. Cambridge, MA: Belknap/Harvard University Press.

    Google Scholar 

  • Rea, D. (2008). Refugee performance: Aesthetic representation and accountability in playback theater. Research in Drama Education: The Journal of Applied Theater and Performance, 13(2), 211–215.

    Google Scholar 

  • Ridout, N. (2009). Theater and ethics. Basingstoke: Palgrave Macmillan.

    Google Scholar 

  • Rifkin, F. (2010). The ethics of participatory theater in higher education: A framework for learning and teaching. York: Higher Education Academy (Research report).

    Google Scholar 

  • Sæbø, A. (2009). Challenges and possibilities in Norwegian classroom drama practice. Research in Drama Education: The Journal of Applied Theater and Performance, 14(2), 279–294.

    Google Scholar 

  • Saldaña, J. (1998). Ethical issues in an ethnographic performance text: The “dramatic impact” of “juicy stuff”. Research in Drama Education: The Journal of Applied Theater and Performance, 3(2), 181–196.

    Google Scholar 

  • Saldaña, J. (Ed.). (2005). Ethnodrama: An anthology of reality theater. Walnut Creek: AltaMira Press.

    Google Scholar 

  • Saldaña, J. (2011). Ethnotheatre: Research from page to stage. Walnut Creek: Left Coast Press.

    Google Scholar 

  • Salverson, J. (1996). Performing emergency: Witnessing, popular theater, and the lie of the literal. Theater Topics, 6(2), 181–191.

    Google Scholar 

  • Salverson, J. (2001). Change on whose terms? Testimony and an erotics of inquiry. Theater, 31(3), 119–125.

    Google Scholar 

  • Saxton, L. (2010). Levinas, ethics, faciality. In L. Downing & L. Saxton (Eds.), Film and ethics: Foreclosed encounters. London: Routledge.

    Google Scholar 

  • Schaefer, K. (2009). Staging encounters with the radically absent(ed). The politics and ethics of recent UK performance about asylum. In About performance, vol. 9: Playing politics: Performance, community and social change.

    Google Scholar 

  • Scharinger, J. (2013). Participatory theater, is it really? A critical examination of practices in Timor-Leste. Austrian Journal of South-East Asian Studies, 6(1), 102–119.

    Google Scholar 

  • Schulze, D. (2017). Authenticity in contemporary theater and performance: Make it real. London: Bloomsbury.

    Google Scholar 

  • Schweitzer, P. (2007). Reminiscence theater: Making theater from memories. London: Jessica Kingsley Publishers.

    Google Scholar 

  • Sepinuck, T. (2013). Theater of witness: Finding the medicine in stories of suffering, transformation and peace. London: Jessica Kingsley Publishers.

    Google Scholar 

  • Shaughnessy, N. (2005). Truth and lies: Exploring the ethics of performance applications. Research in Drama Education: The Journal of Applied Theater and Performance, 10(2), 201–212.

    Google Scholar 

  • Stuart-Fisher, A. (2005). Developing an ethics of practice in applied theater: Badiou and fidelity to the truth of the event. Research in Drama Education: The Journal of Applied Theater and Performance, 10(2), 247–253.

    Google Scholar 

  • Stuart-Fisher, A. (2009). Bearing witness: The position of theater makers in the telling of trauma. In T. Prentki & S. Preston (Eds.), The applied theater reader. London: Routledge.

    Google Scholar 

  • Stuart-Fisher, A. (2011a). ‘That’s who I’d be, if I could sing’: Reflections on a verbatim project with mothers of sexually abused children. Studies in Theater and Performance, 31(2), 193–208.

    Google Scholar 

  • Stuart-Fisher, A. (2011b). Trauma, authenticity, and the limits of verbatim. Performance Research, 16(1), 112–122.

    Google Scholar 

  • Taylor, P. (2003). Applied theater: Creating transformative encounters in the community. Portsmouth: Heinemann.

    Google Scholar 

  • Thompson, J. (2002). Becoming ethical: Sri Lanka, theater and war. In C. Bernardi (Ed.), Teatri di guerra e azioni di pace. Milan: Euresis Edizioni.

    Google Scholar 

  • Thompson, J. (2003). Applied theater: Bewilderment and beyond. Bern: Peter Lang.

    Google Scholar 

  • Thompson, J. (2005). Digging up stories: Applied theater, performance and war. Manchester: Manchester University Press.

    Google Scholar 

  • Thompson, J. (2009a). The ends of applied theater: Incidents of chopping and cutting. In T. Prentki & S. Preston (Eds.), The applied theater reader. Abingdon: Routledge.

    Google Scholar 

  • Thompson, J. (2009b). Performance affects: Applied theater and the end of effect. Basingstoke: Palgrave Macmillan.

    Google Scholar 

  • Thompson, J. (2014). Humanitarian performance: From disaster tragedies to spectacles of war. London: Seagull Books.

    Google Scholar 

  • Thompson, J. (2015). Towards an aesthetics of care. Research in Drama Education: The Journal of Applied Theater and Performance, 20(4), 430–441.

    Google Scholar 

  • Thompson, J., Hughes, J., & Balfour, M. (2009). Performance in place of war. London: Seagull Books.

    Google Scholar 

  • Thornton, S. (2009). ‘The complexity and challenge of participation: A case study of collective encounters’ living space project.’. In T. Prentki & S. Preston (Eds.), The applied theater reader. Routledge: Abingdon.

    Google Scholar 

  • Toffler, A. (1973). Future shock. London: Pan Books.

    Google Scholar 

  • Trzebinski, J. (2005). Narratives and understanding other people. Research in Drama Education: The Journal of Applied Theater and Performance, 10(1), 15–25.

    Google Scholar 

  • Vine, C. (2017). Creative arts team mission statement. https://creativeartsteam.org/approach/mission. Accessed 15 Jan 2017.

  • Wake, C. (2013). To witness mimesis: The politics, ethics, and aesthetics of testimonial theater in Through the Wire. Modern Drama, 56(1), 102–125.

    Google Scholar 

  • White, V., & Belliveau, G. (2010). Whose story is it anyway? Exploring ethical dilemmas in performed research. Performing Ethos: An International Journal of Ethics and Theater Performance, 1(1), 85–96.

    Google Scholar 

  • Young, S. (2014). I’m not your inspiration, thank you very much. TED Talk. https://www.ted.com/talks/stella_young_i_m_not_your_inspiration_thank_you_very_much. Accessed 14 May 2017.

Download references

Author information

Authors and Affiliations

  1. Birmingham, UK

    Clark Baim

Authors
  1. Clark Baim
    View author publications

    You can also search for this author in PubMed Google Scholar

Rights and permissions

Reprints and permissions

Copyright information

© 2020 The Author(s)

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Baim, C. (2020). Ethics: Principles and Guidelines for Ethical Practice When Using Personal Stories in the Theater. In: Staging the Personal . Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-46555-1_3

Download citation

Publish with us

Policies and ethics

Search

Navigation