Abstract

In a world of conflict and polarities, this research seeks to design an applied drama and theater form that can create a third space where redemptive conversation could begin. The redemptive theater experiment follows a strategic narrative embodiment design that balances narrative structure with improvisational elements. This article analyzes one performance of the form to illuminate this narrative design structure, or STORI strategy, with an emphasis on how structure can enable play and improvisation. Specifically, how do we structure moments of silence as a meeting place for conflicting perspectives and ideologies? As silence and tension grow, how do we shape the space between us to enter it carefully and vulnerably, finding an improvisational moment of give and take? Although the scope of this study does not measure the redemptive impact of the design, it does illuminate further questions about the value of structuring moments of silence as part of the play; how the absence of the author of a story removes unhelpful power dynamics, opening the improvisational possibilities; and how enrolling both audience and players enables more nuanced reflection. The performance that is analyzed deals with questions of xenophobia and the intersection of gender and nationality.