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 |