No White Picket Fence

No White Picket Fence
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Описание книги

A powerful verbatim play about young women’s resilience through foster care, No White Picket Fence is drawn from a research project involving in-depth interviews conducted by social work professor Sue McKenzie-Mohr with ten individuals who, as girls, grew up in the foster-care system and now identify in their own ways as living well. The play’s dialogue is entirely verbatim – that is, drawn word for word from interview transcripts featuring all of the “word stumbles” (ums, ahs, and incomplete sentences) of regular speech, lending the play its raw, hyperreal feel.






No White Picket Fence follows the women’s unique stories in their own words from their experiences before being taken into care, through their time in care, into their current lives navigating the world as young adults. Their stories are raw, characterized by times of turmoil and suffering in their original family homes and later during impermanent arrangements in foster care and group homes. And yet these women’s stories also highlight their persistent efforts to move toward living well on their own terms.






Above all else, these are stories of resistance, resilience, and strength of the human spirit. Their accounts shed light on the urgency for greater and sustained efforts to improve a care system that struggles to meet the basic needs of the youth it is mandated to protect and nurture.

Оглавление

Robin C. Whittaker. No White Picket Fence

Contents

Page List

Landmarks

NO WHITE PICKET FENCE

FOREWORD: FASHIONING TRUTH TO THINK OTHERWISE

VERBATIM THEATRE, YOUTH IN CARE, SOCIAL ACTION

THEATRE AND SOCIAL WORK

COLLABORATIVE BEGINNINGS

CREATING AND DIRECTING THE VERBATIM SCRIPT

COMMUNITY ENGAGEMENT

PRODUCTION HISTORY

CHARACTERS

PRE-SHOW

SCENE 1: MEETING EMILY

SCENE 2: LIVING WELL (PT. I)

SCENE 3: AMANDA’S JOURNEY

SCENE 4: MEETING LOTUS

SCENE 5: CATALYSTS

SCENE 6: EMMA IS AROUND SIX

SCENE 7: LISA ASKS, “WHY DON’T THEY TAKE HIM AWAY?”

SCENE 8: AMANDA’S BEAUTIFUL HOUSE

SCENE 9: ALISHA SEES A DIFFERENCE

SCENE 10: KRIS’S MOM IS VERY ILL

SCENE 11: MARY ISN’T ADOPTED

SCENE 12: BROOKLYN IS HOSPITALIZED

SCENE 13: LOTUS IS PRESCRIBED DEXEDRINE

SCENE 14: KARI’S CATS (PT. I)

SCENE 15: EMILY (PT. I)

SCENE 16: LISA’S GARBAGE BAG

SCENE 17: MARY’S BEING WATCHED

SCENE 18: BROOKLYN DOES THE OPPOSITE

SCENE 19: THINGS DON’T WORK OUT WITH KRIS’S AUNT BRENDA

SCENE 20: KARI’S CATS (PT. II)

SCENE 21: LOTUS JOINS ATHLETICS

SCENE 22: EMILY (PT. II)

SCENE 23: LISA AT THE BRIDGE

SCENE 24: MARY’S DREAM

SCENE 25: EMMA’S PUNISHMENTS

SCENE 26: LOTUS’S FRIEND PLAYS ACCORDÉON AND IT’S PAST OUR BEDTIME

SCENE 27: EVERYONE DRINKS AT UNIVERSITY, AMANDA

SCENE 28: ALISHA MAKES HER OWN PIECES

SCENE 29: EMILY (PT. III)

SCENE 30: LOTUS DETOXES

SCENE 30: LOTUS DETOXES

SCENE 31: KRIS’S COAT

SCENE 32: AMANDA’S FINDING ROOTS

SCENE 33: LIVING WELL (PT. II)

SCENE 34: REFLECTIONS

AFTERWORD

ACKNOWLEDGMENTS

Отрывок из книги

Thank you for purchasing and reading No White Picket Fence.

If you came across this ebook by some other means, feel free to purchase it and support our hard work. It is available through most major online ebook retailers and on our website. The print edition is also available.

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1 In my own research practice, I ask the young people with whom I work to choose pseudonyms and to describe themselves as they would like me to describe them if I write about them.

2 Andrew Kushnir, “A New Hearing: Representation and Relationship in the Making of Towards Youth: A Play on Radical Hope,” in A Global Youth Citizenry: Theorizing Community-Engaged Research Methodology, eds. K. Gallagher, D.J. Rodricks, and K. Jacobson (New York: Springer, forthcoming).

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