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Applied Theatre Second Edition

Applied Theatre Second Edition

Monica Prendergast

(2016)

Additional Information

Book Details

Abstract

Six years after its initial publication, Applied Theatrereturns with a second edition. As the first book to assist practitioners and students to develop critical frameworks for implementing their own theatrical projects, it served as a vital addition to this area of growing interest, winning the Distinguished Book of the Year award from the American Alliance for Theatre and Education. Editors Monica Prendergast and Juliana Saxton have updated the book to reflect shifts in practice over the last few years in the world of applied theatre. Drawing on their backgrounds in drama education and pedagogy, the co-editors offer introductory chapters and dozens of case studies on applied theatre projects around the globe. This new edition of Applied Theatre will encourage students and practitioners to acquire a deeper understanding of the field and its best practices.

Table of Contents

Section Title Page Action Price
Cover i
Half Title\r ii
Title\r iv
Copyright\r v
Contents vi
Acknowledgments xiv
Preface: What Is This Book About? xx
Part One: Theories, History and Practices of Applied Theatre\r 1
Chapter One: Theories and History of Applied Theatre\r 3
1.1 Where Do We Find Applied Theatre? 3
1.2 What Is Applied Theatre? 6
1.3 Why Applied Theatre? How Did It Emerge? 7
1.4 What Is the Purpose of Applied Theatre? 11
Summary 13
Further Reading 14
Questions for Reflection and Discussion 15
Suggested Activities 15
Chapter Two: Practices of Applied Theatre 17
2.1 How Do We Make Applied Theatre? 17
2.2 Who Are the Performers of Applied Theatre? 20
2.3 Who Is Applied Theatre for? 20
2.4 What Are the Interactions between Actors, Spectators and Facilitators in Appliedtheatre? 21
2.5 How Do We Assess Applied Theatre? 23
2.6 What Are the Key Areas to Effective Applied Theatre Practice? 25
Summary 26
Further Reading 26
Questions for Reflection and Discussion 27
Suggested Activities 27
Chapter Three: Story, Storytelling and Applied Theatre 29
3.1 How Is Story Related to Applied Theatre? 29
3.2 What Kinds of Stories Inform Applied Theatre? 31
3.3 What Is Effective Storytelling? 32
3.4 How Does Storytelling Change in Applied Theatre? 35
3.5 What Are the Issues around the Uses of Story in Applied Theatre? 36
Summary 38
Further Reading 38
Questions for Reflection and Discussion 39
Suggested Activities 40
Part Two: The Landscape of Applied Theatre 41
Chapter Four: Popular Theatre 43
Introduction 43
4.1 Popular Theatre as Spectacle 45
4.2 Puppetry with at-Risk Youth 49
4.3 Comic Performance in Bangkok 54
4.4 Street Theatre for Safer Practices 57
Further Reading 60
Questions for Reflection and Discussion 61
Suggested Activities 61
Web Resources 62
Chapter Five: Documentary Theatre 63
Introduction 63
5.1 Fight for Freedom 66
5.2 Translating Testimony 69
5.3 Reciprocating Roles 72
5.4 Detaining Asylum Seekers in Australia 74
Further Reading 77
Questions for Reflection and Discussion 78
Suggested Activities 79
Web Resources 79
Chapter Six: Theatre in Education (TIE)\r 81
Introduction 81
6.1 Human Rights 84
6.2 Disability and the Inclusive Classroom 89
6.3 Countering Radicalization 92
6.4 Child Abuse and Family Violence 95
Further Reading 98
Questions for Reflection and Discussion 100
Suggested Activities 100
Web Resources 101
Chapter Seven: Theatre of the Oppressed (TO)\r 103
Introduction 103
7.1 A letter from Augusto Boal 105
7.2 Forum Theatre on Sexual Harassment 108
7.3 Igniting the social imagination 111
7.4 Life skills in medical education 113
Further Reading 116
Questions for Reflection and Discussion 117
Suggested Activities 117
Web Resources 118
Part Three: The Locations of Applied Theatre\r 119
Chapter Eight: Theatre in Health Education (THE)\r 121
Introduction 121
8.1 HIV/AIDS 123
8.2 Prenatal Screening as Multimedia Performance 125
8.3 Approaching a Doctor’s Life 128
Further Reading 132
Questions for Reflection and Discussion 134
Suggested Activities 134
Web Resources 134
Chapter Nine: Theatre for Development (TfD)\r 137
Introduction 137
9.1 A Bangladesh TfD Project 140
9.2 Education for Political Process in Uganda 143
9.3 Women’s Rights in Pakistan 146
9.4 University-Community Environmental Education 147
Further Reading 151
Questions for Reflection and Discussion 152
Suggested Activities 152
Web Resources 153
Chapter Ten: Prison Theatre\r 155
Introduction 155
10.1 Critical Citizenship in Prison 157
10.2 Fatherhood and Family 161
10.3 Death and Dreams 164
10.4 Human Rights in a Brazilian Prison 170
Further Reading 173
Questions for Reflection and Discussion 174
Suggested Activities 174
Web Resources 175
Chapter Eleven: Community-Based Theatre\r 177
Introduction 177
11.1 Large-Scale Community Play 179
11.2 The ‘World of Systems’/the ‘World of Life’ 184
11.3 Working with War Veterans 188
11.4 Dreams over Reality 193
Further Reading 196
Questions for Reflection and Discussion 197
Suggested Activities 198
Web Resources 198
Chapter Twelve: Museum Theatre\r 199
Introduction 199
12.1 In the present Looking at the Past 201
12.2 Re-examining History through Museum Theatre 204
12.3 Museum–university Partnership 207
Further Reading 210
Questions for Reflection and Discussion 211
Suggested Activities 212
Web Resources 212
Chapter Thirteen: Reminiscence Theatre\r 215
Introduction 215
13.1 Interrogating Reminiscence 217
13.2 Memory and Transgression 219
13.3 Intergenerational Reminiscence Theatre 221
13.4 Uncharted Territory of Widowhood 224
Further Reading 227
Questions for Reflection and Discussion 227
Suggested Activities 228
Web Resources 228
Part Four: Challenges for Practice 229
Chapter Fourteen: Participation, Aesthetics, Ethics and Assessment\r 231
Introduction 231
14.1 Participation 233
14.2 Artistry and Aesthetics 235
14.3 Ethics 237
14.4 Assessment/Evaluation 239
Summary 242
Further Reading 243
Questions for Reflection and Discussion 244
Suggested Activities 245
Afterword Reflection 247
Bibliography 251
Author Index\r 269
Back Cover 275