Unlike traditional behavior-change campaigns that convey abstract concepts and can become repetitive quickly, educational narratives are easier to follow and remember than abstract information. Characters in theatre have the power to be role models, inspire audiences to engage in new thinking about “what is possible”, and change the perception of what is “normal” and socially acceptable behavior.
No-one likes to be lectured or be told what to do. The reason to change must be engaging and exciting, which is why StageFright Edutainment’s main focus is Edutainment, education through entertainment that is told through ''The ART of Corporate Communications''.
StageFright is managed by Tiro Venter, Executive Director. Currently enrolled for his Masters in Drama, Tiro holds a B-Tech Drama with majors in Applied Theatre and Children’s Theatre. StageFright Edutainment specializes in Tailor-Made Live Industrial Theatre shows performed Live at our clients’ workplaces.
StageFright Edutainment is a registered South African company, specialising in Edutainment that provides multi-disciplinary services in the fields of Industrial Theatre; Road Shows; Activations; Awareness Campaigns; Events Management; Corporate Communications; Community Mobilisation; Stakeholder Management; as well as Institutional and Social Development Services including Emotional Dynamisisation, Teambuilding Interventions such as Open Space Workshop Technology and Focus Group Discussions.
We are a specialist edutainment company that provides multi-disciplinary services in the form of:
- Industrial and Corporate Theatre
- Educational and Children’s Theatre
- Awareness Campaigns
- Brand Promotions
- Community Mobilization
- Stakeholder Engagement
- Team building interventions
- Open Space Workshops and
- Corporate Communications
“With our proven track record, we are confident of our capabilities to communicate our clients’ messages and objectives in a way that is creative and innovative that will generate increased awareness and understanding of intended messages to the targeted audiences in a way that is Non-Didactic, Non-offensive, Engaging, Inter-Active, Educational and Entertaining”– Tiro Venter
Techniques that we use in our approach
In Forum Theatre, audiences will be encouraged to come on-stage and role-play some of the characters in an attempt to change the course of those characters lives towards their own ideal endings, which will prompt a sense of ownership in the minds of the employees.
This is also a practical way to immediately measure the impact made as well as the level of understanding of the audience during the theatre production.
In order to make the Theatre accessible and entertaining, there is a large amount of audience participation. Through audience volunteers taking part in scenarios, impromptu chants, repetition of messages and other slogans can be incorporated.
We benefit from using humour and entertainment, rather than didactic lecturing as an approach.
The characters will illustrate a series of recognizable contexts and situations representing the audiences’ lives at work, play and home, and in this way the audience will identify with themselves, their environment and their situations in a fun and non-offensive and non-confrontational context
This style of staging will suit the clients’ expectations as it is not just a one-way conversation, but rather an interactive form of communication. Fun, laughter, song and dance as well as Audience Participation are ‘’key’’ for communicating pressing issues.
“Simultaneous dramaturgy”, a technique in which the audience members have the power to influence the performance. Usually it is a short scene based on a true story or actual problems relevant to the company.
In the ideal scene, one of the characters is being oppressed. The scene goes on until this protagonist has to make a decision. Then the scene is stopped and the audience is asked to suggest different actions for the actors to carry out on-stage. Sometimes audience members have the right to stop the performance whenever they want. Compared to the traditional theatre, audience members have a specific input into the performance. They don’t just sit and watch but real interaction is taking place.
Playback theatre is dependent on personal stories and is interactive. It investigates how effective communication can promote personal responsibility through reflection on their personal account of circumstances or a particular situation, and in-doing so, re-evaluate and re-negotiate their understanding in their own environment.
Playback theatre is used as a tool to negotiate new paths relating to spoken issues, as presented through participants personal stories.