![]() Deceptively playful, this method is remarkably effective at teasing out community dreams and desires from hands-on activities. Using our hands to build and create is central to what makes us human, helping spark ideas without relying on words to communicate. Their approach, “Place It!,” draws on three methods: the interactive model-building workshop, the pop-up, and site exploration using our senses. In Dream Play Build, they share their insights into building common ground and inviting active participation among diverse groups. So what would it look like to facilitate truly meaningful discussions between citizens and planners? What if they could be fun? For twenty years, James Rojas and John Kamp have been looking to art, creative expression, and storytelling to shake up the classic community meeting. Conversations that should be inspiring can become shouting matches. But the standard approach to public meetings somehow makes everyone miserable. People love their communities and want them to become safer, healthier, more prosperous places. It’s time to imagine a different type of community engagement – one that inspires connection, creativity, and fun. But she has a hard time hearing, and can’t see the diagrams clearly. ![]() ![]() Jana loves her community and is glad to be able to attend the evening meeting, and she has a lot of ideas for community change. The city planner puts up a color-coded diagram of the street improvement project, dreading the inevitable angry responses. ‘Eros is not the main theme’, explained Strindberg to Anna Flygare, who was to play Swanwhite, ‘the symbolism relates to Caritas, the great love which suffers everything, forgives, hopes, and believes, however much it is betrayed.The room is dim, the chairs are in perfectly lined rows. The elegance of the play’s structure and stagecraft goes far to guard against sentimentality. Its young lovers are hardly more than children indeed it is the resolution of the relationship between Swanwhite and the mother image, split between stepmother and guardian angel, which has to be achieved before her love of the Prince can be fulfilled. Unlike the realistically framed Blue Bird, it is not technically a dream play, but is set entirely in a fairytale palace (for which young Knut Ström designed a charming art nouveau set). This was one of his most popular plays, a fairytale piece, half-intended for children, like the earlier Lucky Peter’s Travels and The Keys of the Kingdom. ![]() In a third work, Swanwhite, he created an example of the same genre as Maeterlinck’s The Blue Bird and its sequel, The Betrothal, but antedating them. Strindberg acknowledged Maeterlinck’s influence on his peasant play, The Crown Bride, and on A Dream Play. ![]()
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