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Part III. Digital Media and Storytelling in Research ] 113 there was a discussion with the DST facilitator. Ihe audience reception was analyzed through data collected from YouTube likes and comments (Kunga Thas, 2017). In the Turkish StoryHub" project, digital stories were created by women on the topics of domestic violence, underage marriage and female infanticide. Ihe most dominant part of the workshop was the story circle, where the women expressed solidarity and belonging towards each other by sharing stories on similar topics and analyzing the causes and consequences of the events (Simsek, 2017). DST’s supporting process is also relevant in the practice of participatory theater, which is in itself a disciplinary hybrid genre, combining artistic, exploratory, and therapeutic goals. Its primary role, however, is to bring silenced issues to the public’s attention through a combination of theatricalpedagogical, audiovisual, and narrative tools. Alrutz (2013) combined the participatory theater method with DST for a group of neglected young people (i.e., children of prostitutes, drug users and other addicts). In Alrutz’s DST workshop, young individuals wrote a text entitled I come from a place where... and created digital stories. To gain a deeper understanding of their topic, the young people built interactions with each other while also critically reflecting on themselves and their social situation. The young people created a theater performance of the digital stories, presenting their personal life experiences and group identity in a performative way. They reflected to their relationship with social stereotypes, described their unique situations and showed invisible processes to mainstream society through their meta-narratives. The aim of community theater is to help young people in search of identity as well as traumatized people to articulate their social situations and raise awareness for social purposes. This was also the aim of Horvath, Oblath, Lanszki, Teszary, Csosz6 and Takacs’ (2017) project SzivHang, in which rural Roma women thematized their coping strategies in the context of the Hungarian healthcare system. The DST workshops were complemented by sociodrama sessions. The overall research and creation process resulted in a number of stories from which the narrators, with the help of a dramaturg, director, and scriptwriter, created a stage performance to confront the audience with life narratives that are silenced in mass media or kept silent by individuals due to shame (Horvathet al., 2017). Similarly, the autoethnographic documentary theater performance Long live Regina”! was made up of the narrators’ personal digital stories. Life stories were also used in the play Excellent Workers®, presented at the Orkény Theater, starring people working in the service industry discussing the lack of social appreciation of their work. Such individual life stories may also appear on television, as in the example of the BBC’s Capture Wales project, which broadcasted digital stories created by individuals in Wales. 50 http://digitalstoryhub.org/ » — https://trafo.hu/programok/eljen_soka_regina * https://www.orkenyszinhaz.hu/hu/musor/kivalo-dolgozok
