Exploring Lessons in Investigation from the Stage: Insights on Research Gleaned from the Dramatic Arts
In the heart of Rio de Janeiro, a writer gathered a rich trove of juicy, varied, and detailed information during their time there. This research material, collected during their fieldwork, would serve as the foundation for their thesis.
Interviews, workshops, and the collection of books and documents were all part of the writer's extensive research. Yet, in preparing for their first thesis meeting, they found an unexpected approach to be most helpful: not reading over their research material before reflecting on their fieldwork.
This strategic approach, which begins with unanswered questions, mirrors that of renowned theater director and Princeton professor, John Doyle. Doyle begins his creative process by reading a script only a few times before rehearsals, allowing exploration of multiple possibilities and collaborative development.
This question-driven inquiry aligns well with both the scientific and liberal arts traditions, where lifelong learning and the search for deeper meaning are central to the process. By entering research with unanswered questions, academics remain open to creative breakthroughs and richer understanding, much as John Doyle’s theater process leverages openness to generate innovative work.
This approach encourages researchers to embrace ambiguity and complexity rather than prematurely narrowing the scope, leading to more original insights and creative outcomes. It promotes critical thinking and continual re-evaluation of assumptions and evidence. It encourages self-reflection and intellectual humility, freeing researchers from rigid frameworks and biases. It fosters an environment where diverse perspectives inform the research process. And it allows research goals and methods to evolve as new data or ideas emerge.
In the theater production "Elektra," the writer acted in the two-person Greek Chorus and developed initial questions about the Chorus that went unanswered. These initial questions allowed the writer to test out answers every day, playing with different kinds of movement, costume, intonation, and finding new details in the script.
John Doyle stresses the importance of entering rehearsals with unanswered questions, a philosophy that extends beyond the theater world. Both academic research and artistic creation are more fulfilling when approached with openness to the unknown.
The writer spent two months in Brazil researching the legacy of art-therapy pioneer Nise da Silveira, further demonstrating the value of this approach. John Doyle prefers to let ideas brew and leave space for his collaborators' input, a practice that fosters creativity and innovation in both academic research and theater.
In conclusion, the transformative benefit of starting with open questions enhances critical analysis, adaptability, and originality in scholarship. It's a strategy that encourages researchers to embrace the unknown, fostering a more fulfilling and innovative academic journey.
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