Inobe~ Cornerstone Questions

Inobe~

Cornerstone Questions

Why arts and the community? What sparked this desire to create powerful and unique theater work? What's the founder's reason? Why California?

What is Cornerstone’s process for choosing a particular subject matter, and for selecting a certain community to join and help tell their story? Do you start with staff interacting with a community first discussing concerns, and allow work to be formed from that process? What’s your method?

How was “talk it out”, the Coachella project born? When plays are over does Cornerstone remain connected to the community to keep the dialogue going? What's the length of interaction before deciding a play will be created? What’s the average time frame for preparing community work for the stage? How often has Cornerstone created works that were never viewed, and if so what were some of the reasons why?

Comments

Mind Map

What a Riot - Bri Pattillo

I like the Theater of the Oppressed methodology of the Joker. It sort of reminded me of El Pachuco in “Zoot Suit”, like this narrator commenting on all the action. I thought the Joker methodology was a good way to introduce a Theater of the Oppressed tactic into the piece. A lot of the Theater of the Oppressed options that we read about last week have an element of questioning within in them, but I think the Joker was a good one to use with young people. It was nice and cool that she was able to include the students’ actual questions into the play. I did think her approach was rather problematic. She highlighted the problem herself and posed the question, “To whom and to what is the author beholden when writing a play for a specified population that has been invited to contribute to the playwriting process?” My problem was her answer, when she said that the students didn’t understand all of the references or language in the play. I don’t...

Arts and Community Engagement 2018

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