Devising: Pioneering Uncharted Territory in Theater

Throughout theatre history, styles of theatre have come in and out of favor in response to the zeitgeist of the period. Neoclassical, Melodrama, Naturalism, all have their place in history offering enlightenment, passion and truth each in tune with the values of the culture in which it was created. As society transforms, so too does the stage, offering new ways to reflect, interpret and challenge our assumptions about the changing world. Our current society wrestles with a ‘shrinking world’, a world consumed with technological advances that fan the fire of the growing interconnectedness of human beings all over the earth. This ‘shrinking world’ phenomenon has the effect of an‘expanded world awareness’. That is to say, now more than ever we question all assumption regarding singular perspectives and cultural convictions. What our new society values is diversification of insight and a myriad of experiences from which to draw our conclusions about the world in which we live. The kind of theatre that fills this need is Devised Theatre. Theatre is a collaborative art form by nature. Theatre cannot be practiced alone. One must partner other artists as well as an audience in order to create a theatre performance. Theatre is a dialogue which can take many shapes. Devised Theatre is a process of making theatre that enables a group of performers to be physically and practically creative in the sharing and shaping of an original product that directly emanates from assembling, editing and reshaping individual’s contradictory experiences of the world. A devised theatre product is a work that has emerged from and been generated by a group of people working in collaboration. There is an emphasis on a way of working that values an accumulation of ideas. (Oddey)

The Complexity of Quest in Emerging Adults' Religiosity, Well-Being, and Identity

A growing body of literature indicates a modestly positive association between religiosity and spirituality as predictors of psychological health (anxiety and depression), suggesting they serve as personal resiliency factors. The purpose of this study was to expand our understanding of the relationships among these constructs. Using Lazarus's Transactional Model of Stress as a theoretical framework, we examined: (a) the extent to which spirituality and religiosity mediated and/or moderated the association between perceived stress and psychological health and (b) whether there was a moderated (religiosity) mediation (spirituality) between stress and health. The Perceived Stress Scale, Daily Spiritual Experiences Scale, Religious Commitment Inventory, and Hospital Anxiety and Depression Scale were administered to measure the following constructs: stress, spirituality, religiosity, and psychological health. This study utilized a nonexperimental, quantitative, correlational, cross-sectional, moderated-mediation design, and included a convenience sample of 331 research participants. Both spirituality and religiosity moderated stress and health. However, only spirituality partially mediated the relationship. In addition, religiosity did not moderate the mediating effects of spirituality. Overall, this study confirmed the role of both religiosity and spirituality as effective resiliency resources.