Power Dynamics On Stage
The recognition that scene-stage status includes off-stage power — race, gender, seniority, teacher-student — and the craft of working those dynamics honestly.
Known for
- Moves past Johnstone's status work (individual transaction) to structural status (ensemble composition).
- Examples: a senior male performer editing a woman's first-beat scene reads differently than the reverse; experienced performers take care with which edits they initiate and when.
- Direct influence from applied-improv and theater-of-the-oppressed frameworks — power as content, not incidental.