Playback Theatre was founded by Jonathan Fox, and the other members of the original Playback Theatre troupe, in New York. Now, 31 years later, there are over 350 Playback companies in about 50 countries. Each company, and each country, does Playback in slightly different ways, accommodating for local cultural, artistic and focus needs. Over the years Playback has evolved, and today new forms are being created and used for a variety of reasons in a host of different settings. Yet the ritual format of Playback remains essentially unchanged.
Playback Theatre is different from Psychodrama in many ways. At its core Playback is theatre, theatre that allows for healing to occur. Central to the method is that the person whose story is shared does not act in the drama itself. Rather, that person (also known as the Teller) sits with the Conductor, on stage, to view his/her story unfold as told by a group of actors.
Playback is versatile and effective. Whether in a hospital setting, a prison, or an open performance, Playback supports people in connecting with each other through personal story; through the telling of stories, community is created. Players and audiences are encouraged to find their voices for change, to acknowledge their dreams, and to develop support networks through shared experience. The ritual of Playback Theatre is consistent, and one can easily recognize Playback no matter where one may be. The conductor draws personal life stories from the audience. The teller narrates her story to a group of actors and musicians who spontaneously “play it back” using mime, spoken word, music and theatre. With each story, the conductor asks the teller whether the enactment caught the “essence” of the story. The improvisation may be repeated until the teller is satisfied with the outcome.
The process of Playback is deceivingly simple. At one level, we are simply playing back a person’s story from his/her life. As Playbackers, we have a desire to be able to invite any story from the audience. Creating the safety that allows anyone to tell a story is central, as is the ability to listen deeply, not so much with our ears, but from our hearts, to the teller’s story. We bear witness to the story and the feelings that accompany it. “The Playback actors put all their learning both inside and outside the theatre into such moments.”(p.110 J. Fox, 1986)
The process of receiving the story and performing the enactment is a way of giving and receiving the story as a gift. As actors, we receive these story/gifts, becoming willing to portray any role that is given to us, to take the Teller’s story as our own, and to give it back to the teller and audience, completing the circle. The conductor holds a presence similar to that of a “shaman,” paying attention to the subtle as well as the broad dynamics within the audience, and to the connection between the actors and the audience. A balance of art, social awareness and ritual must be present in order for a Playback performance to go well. In Playback, one can pay too much attention to any of these areas, and the other areas may then be lacking. Audience members grow in understanding of the form over time; many become accustomed to the ritual and look forward to the next Playback performance.
These inherent rituals allow Playback to be effective in countries experiencing war, natural disaster, and poverty. It is with all this in mind, that I describe the experience of Playback Theatre in Bangladesh.
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