Honing my teaching philosophy statement last year, I measured the lofty ideals I express there against my actual teaching practice. I assert that “theatre classes provide an opportunity for an insistent merging of theory and practice, and for a blending of the creative and the critical,” and I write that “I always ask students to engage artistically as well as intellectually with the course material.” It is true that, over the past few years, I developed a scaffolded writing assignment with my theatre history students called the “dramaturgical notebook,” a semester-long, multi-part project that asks students to imagine a contemporary production of a play, and requires a number of different modes of analysis, types of research, and styles of writing. But the assignment is, in essence, a series of papers. If I really believe that “embodiment is epistemology,” that “creativity is a form of knowledge,” then why do I hesitate to ask students in my advanced theatre courses to do creative projects (but feel fine about it in my intro classes)? When I do assign creative projects, why do I fail to give them the same weight as critical analyses?
My ambivalence stems in part from the long-standing divide that exists in many college theatre departments between the “practical” and the “academic” classes. Creative projects are often reserved for acting and directing classes, while the “real” critical work is done in the theatre history or the dramatic literature courses. My first semester teaching at CUNY, I was advised against assigning a creative group project in a theatre history course. I was told that the students in the course should focus on writing rather than performance, and that creative projects of that sort were for the intro classes. Afraid of making waves, I abandoned the idea and hewed to the syllabi used in previous years, teaching the same plays, using the same textbooks, and giving similar assignments.
I am now in my fourth year there, and, armed with experience and a record of good observations and student evaluations, I felt comfortable taking some calculated pedagogical risks. Assigned to teach an upper-level writing intensive required course for theatre majors, I set up a number challenges for myself this semester: to put the Writing in the Disciplines (WID) strategies I studied last year into practice, to use technology to improve student writing, and to merge theatre theory and performance practice in a real way in the classroom. I was fortunate enough to have a remarkable group of students—smart, engaged, and hardworking—who were up for helping me to accomplish this.
Meeting the first of my two challenges, I had students set up and maintain their own WordPress blogs, posting responses to prompts that I provided for each of the plays we studied during the semester. The blog posts were practice for the semester’s major writing assignment: a 2,000 – 2,500 word critical analysis of a play, chosen from a list of five. I used the blog prompts to encourage both critical and creative thought. For example, to prime students for the creative project, I asked them to describe and justify a set design for Chekhov’s The Seagull, to write about how they would direct the bear scene in The Winter’s Tale, and to analyze a character from The Glass Menagerie as if they were cast in a production of the play. For the creative project then, I asked students to respond creatively to the play they were analyzing in their critical essays and to present this response to the class. I suggested that they might, for instance, create and present a set, lighting, projection, or costume design, perform a monologue or scene, describe a directorial vision, or compose and perform music for their play. An “A” project, I told them, will demonstrate a clear connection between the critical analysis and the creative project, provide a compelling creative interpretation of the play, and be well-planned and rehearsed. The critical analysis and the creative project would count as the same percentage of their final grade.
During the three days of presentations, there were some truly stand out projects, but watching my students read monologues, show drawings, and present video clips and audio tracks, I had moments of doubt: Were these projects really worth the same weight as the paper? Would my colleagues deem them silly, the results of an inappropriate assignment for an upper-level class? Did the students learn anything from them or were they a waste of valuable class time?
But when I asked my students how they felt about the experience of doing the projects, they unanimously expressed that they were valuable. One student pointed out that she has difficulty with the linear thought and argumentation required in papers; she found it liberating to be able to express her ideas creatively instead. I realized that my feelings of doubt were rooted in a lingering bias about what constitutes academic rigor. I thought about one of my mentors and a model of exemplary teaching, Omi Osun Olomo, whom I had the pleasure and privilege of assisting during my Master’s program at the University of Texas. She writes in a piece about her performance “Sista Docta,”
“Performance is a form of embodied knowledge and theorizing that challenges the academy’s print bias. While intellectual rigor has long been measured in terms of linguistic acuity and print productivity that reinforces the dominant culture’s deep meanings, performance is suspect because of its ephemeral, emotional, and physical nature.”
And later, “Performance is theory. It need not be written about in order for its theory to be present.” Her words remind me that creative engagement is deceptively demanding, inherently theoretical, and always instructive.
Of course, there were some very thoughtful projects and some less thoughtful—just as there would be with any assignment, creative or critical. But the fact is that each and every creative project demonstrated a level of engagement with the play text that rivals that presented in the papers. A student, whose paper compared Sam Shepard’s Buried Child to classical Greek tragedy, wrote an eloquent and illuminating monologue for one of the play’s main characters in the style of Sophocles and presented it to the class. One student did a projection design of an imagined production of Ibsen’s Hedda Gabler, creating a series of abstract paintings that express the title character’s confinement in her class and gender roles. An aspiring makeup artist presented detailed face charts for all the characters in Maria Irene Fornes’s Mud. She presented three different designs that moved from realistic to very distorted and expressionist. (Her paper discusses the expressionist techniques used in the play.) An actor/director filmed a trailer for Buried Child, carefully selecting the moments from the play that best show his paper’s argument that the characters are haunted by their past. The students who performed monologues in essence performed close readings of passages from their plays, embodying for the class the evidence that supports their theses, rather than writing about it. Those who designed costumes engaged deeply with the play’s characters—analyzing them in terms of both their literal and symbolic functions within the play—but the work manifested itself in images rather than text.
I remain committed to giving creative projects and critical analyses equal weight in my theatre classes, but I see now that still have a way to go to overcome my own prejudices, before I can assert that “embodiment is epistemology,” that “creativity is a form of knowledge,” and really mean it. I realize in retrospect that, despite my best efforts, I still privileged the critical analysis over the creative project. I conceived of the creative projects as coming out of the students’ papers when, in fact, it might be useful to imagine it the other way around; perhaps a creative response to a particular play could lead to a strong thesis about its content or form. In the future I will adjust the assignment, asking students to start generating ideas for the project earlier in the semester, to work on them alongside their papers, rather than as an afterthought. As I grade my students’ final papers this week, I will be thinking about what the experience of assessing the creative projects might have to teach me about assessing critical writing. Through the process of developing and implementing the creative project, I learned that, while students have an easy time moving between critical and creative analysis, bridging the gap between my pedagogical theories and practice is not always so easy.
 Joni L. Jones. “’Sista Docta’: Performance as Critique of the Academy.” TDR, Vol. 41, No. 2 (Summer, 1997), pp. 51-67. 53.
 Ibid., 55.