La nave va

0:16 Introduction

2:48 Elisabet, in your experience what overlap is there between the business world and the theater world?

4:32 What is your relationship to La Nave Va. Theater and Transformation?

6:41 Why did you choose this name?

8:12 La Nave Va is an association now. When did you officially become a Cultural Association?

8:35 Why did you choose an Association as your legal structure?

9:24 How many employees work in this Association?

10:36 What decision-making system and internal government have you adopted?

11:38 Is there any relationship between La Nave Va and the 15M process?

12:38 You write on your website that your work helps people explore applied arts by participating and collaborating in processes of reflection, assessment, and evaluation in environments like science, technology, business, education, and social sciences. What exactly does it mean to participate and collaborate in processes of reflection? Reflection with whom and what for, or to what end?

14:00 What specific themes or subjects do you work with in formal educational environments?

17:09 What role does theater play in the process of reflexive inquiry that could lead to potential transformation in the people who participate?

19:29 Who have been your references as you develop your own methodology?

23:00 You work with the dramatic pretext as a tool. Can you explain how you came to this tool, and how you incorporate it into your work?

23:53 Could you explain what the dramatic pretext consists of exactly?

25:58 Thinking about the collaborations you’ve developed with teachers and students in different educational spaces, what is your opinion of the educational system as it is now? What do you think needs to change in this system in order for the experiential, reflexive, sensorial and artistic type of education you practice to take place?

32:13 What have you learned from your work as educators in a classroom that you think could help teachers carry out their work more effectively?

35:32 Do you think theater education is valued in the same way as other subjects?

42:46 How do you do group work around trauma, resistance, or ideological hard lines?

45:20 What do you do when this type of intervention provokes conflict situations? How do you resolve them?

45:53 Do you make any distinction between prejudice or bias and stereotype?

46:24 Understanding that we’re in a society where the audiovisual image is apparently the most-used tool in the classroom, why is it important to consider theater as a tool for education?

47:38 Considering all the experience you’ve accumulated through your consciousness-raising workshops in formal and informal educational spaces, how can a person cultivate a critical and reflective/reflexive worldview within the limited framework of an apocalyptic imaginative space, emphasized by the media – and from within a highly polarized and fragmented society, divided into opposing groups?

51:09 What kinds of issues and themes do you work with in your workshops?

53:02 In addition to workshops to collaborate with schools, what other entities host your workshops?

54:45 What is the cost for your collaborations and workshops?

56:13 How is your work received in educational spaces?

57:38 Can you imagine a hybrid educational system that brings together the work of educators from collectives and self-managed communities and the work of teaching staff in institutions?

1:00:03 Do you have any mentorship and training activities for teaching staff?

1:01:54 Through La Nave Va you participate in the Erasmus Plus Beyond Text program in Europe, and you practice a form of “Arts-Based Research.” What kind of research is that?

1:05:00 Where do you share your research? Is it publically accessible?

1:06:15 What relationship do you have with the University? Do they invite you to share your experience with artistic research?

1:09:41 Does this figure of the artographer that you described exist in other universities?

1:11:10 What role do you think theater and the theater arts in general have in our society now?

1:14:55 You’re part of an international network of researchers, artists, “practitioners” and academics, RECAP (Research into Education, Creativity and Arts through Practice) – and you work in collaboration with self-managed groups and processes like Economistas sin Fronteras, REAS, FETS, etc. Could you explain how these collaborations get established?

1:16:58 What types of shows do you put on through La Nava Va?

1:20:55 Is this a political project? If it is, what kind of politics are we talking about?

1:22:41 At the Constellation of the Commons, we’re working on the production of a proactive and helpful imaginary that promotes citizen participation in the coming eco-social, polyethical, economic transformation. Can you speak to some moments that have helped strengthen that vision of the possibility for change?

1:26:56 How do you maintain hope and energy?