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"Laura and Valentina are just trying to make it through another day in middle school. However, unlike many of their peers, they are refugees from Central America who have fled brutal violence in their home countries to find shelter and pursue their dreams in the United States. Step inside their shoos, hear their stories, see their struggle and feel their strength as we move through their day. [The play] brings to light the undaunted courage and beautiful spirit that fuels these young people and teaches us the power of friendship, family, and hope."--Back cover.
This volume offers researchers and practitioners new perspectives on applied theatre work, exploring the relationship between applied theatre and its intent, success and value. Applied theatre is a well-established field focused on the social application of the arts in a range of contexts including schools, prisons, residential aged care and community settings. The increased uptake of applied theatre in these contexts requires increased analysis and understanding of indications of success and value. This volume provides critical commentary and questions regarding issues associated with developing, delivering and evaluating applied theatre programs. Part 1 of the volume presents a discussion of the ways the concept of change is presented to and by funding bodies, practitioners, participants, researchers and policy makers to discover and analyse the relationships between applied theatre practice, transformative intent, and evaluation. Part 2 of the volume offers perspectives from key authors in the field which extend and contextualize the discussion by examining key themes and practice-based examples.
This book addresses theatre’s contribution to the way we think about ecology, our relationship to the environment, and what it means to be human in the context of climate change. It offers a detailed study of the ways in which contemporary performance has critiqued and re-imagined everyday ecological relationships, in more just and equitable ways. The broad spectrum of ecologically-oriented theatre and performance included here, largely from the UK, US, Canada, Europe, and Mexico, have problematised, reframed, and upended the pervasive and reductive images of climate change that tend to dominate the ecological imagination. Taking an inclusive approach this book foregrounds marginalised perspectives and the multiple social and political forces that shape climate change and related ecological crises, framing understandings of the earth as home. Recent works by Fevered Sleep, Rimini Protokoll, Violeta Luna, Deke Weaver, Metis Arts, Lucy + Jorge Orta, as well as Indigenous activist movements such as NoDAPL and Idle No More, are described in detail.
If theatre is a way of seeing, an event onstage but also a fleeting series of moments; not a copy or double but more vitally metamorphosis, transformation, and change, how might we speak to – and of – it? How do we envision and frame a fluid reality that moves faster than we can write? Arranged over two parts, 'Figurations' and 'Translations', Essays on Theatre and Change reflects on the animal, history, doubling, translation, and the performative potential of writing itself. Each fictocritical essay weaves between voices, genres and contexts to consider what theatre might be, offering a 'partial object' rather than a complete theory. Leaving the page radically open to its reader, Essays on Theatre and Change is a dazzling, multi-lensed account of what it is to think and write on theatre.
First Published in 1997. Can South African theatre continue to maintain its autonomy and exercise its critical role? Can one rethink form and find new content? Can a concept of post-protest theatre be developed? How might theatre contribute to post-apartheid soceity? These are just of the questions addressed in this book. The real and present difficulties South Africian theatre is facing, as well as possible future orientations, are clearly shown, at one of the most complex moments of political transition in the history of the South African society. The authors include contributions from playwrights, actors, visual artists, poets, directors, administrators, critics and theatre academics. Their comments and thoughts portray the active process of reflection and reappraisal, redefining their artistic and political aims, searching for new and vital theatrical forms.
This edited collection explores methods for conducting critical empirical research examining the potential impacts of theatrical events on audience members. Dani Snyder-Young and Matt Omasta present an overview of the burgeoning subfield of audience studies in theatre and performance studies, followed by an introduction to the wide range of ways scholars can study the experiences of spectators. Consisting of chapter-length case studies, the book addresses methodologies for examining spectatorship, including qualitative, quantitative, historical/historiographic, arts-based, participatory, and mixed methods approaches. This volume will be of great interest to theatre and performance studies scholars as well as industry professionals working in marketing, audience development, and community engagement.
“Caroline is a breakthrough—a story so grounded in the ordinary details of life that it almost seems to have discovered a new genre.” –Richard Zoglin, Time “Acute, smart and witty: a telling snapshot focusing with sharp clarity on characters captured at a fraught turning point in history—a culture’s and a family’s.” –Charles Isherwood, Variety “Thrilling. You’ve never seen anything quite like Caroline, or Change and likely won’t again anytime soon. There’s never a moment that the part-pop, part-opera, part-musical-theater score Jeanine Tesori has conjured up doesn’t ideally match Tony Kushner’s meticulously chosen words with clarion precision.” –Matthew Murray, talkinbroadway.com “A monumental achievement in American musical theater. Joyful, wholly successful, immensely moving, told with abundant wit and generosity of heart.” –John Helipern, New York Observer Louisiana, 1963: A nation reeling from the burgeoning Civil Rights Movement and the Kennedy assassination. Caroline, a black maid, and Noah, the son of the Jewish family she works for, struggle to find an identity for their friendship after Noah's stepmother, unable to give Caroline a raise, tells Caroline that she may keep the money Noah leaves in his pockets. Through their intimate story, this beautiful musical portrays the changing rhythms of a nation. Tony Kushner and composer Jeanine Tesori have created a story that addresses contemporary questions of culture, community, race and class through the lens and musical pulse of the 1960s.
In the world of secondary theatre education, the impetus for change can arise at any moment because the needs of our adolescents and the conditions under which we teach them are in constant motion. How do successful theatre teachers keep pace with change while continuing to create student-centered, life-changing educational experiences? As a veteran theatre educator, Joan Lazarus recognizes that there is no one-size-fits-all answer; that's why, in researching Signs of Change, she interviewed 100 different members of the field to see how real teachers cope with the shifting demands of theatre education. Lazarus gives you a glimpse of active, dynamic professionals in motion-hurdling obstacles, tweaking ideas, or completely overhauling their curriculum in response to the challenges their programs face. You'll go behind the scenes and discover theatre education innovations that work, methods to make them happen in your school, and inspiring stories of how these changes will improve both your teaching and the lives of your students. Change can come without warning and it can seem scary, but it can also stimulate a level of professional growth you never imagined possible. With her emphasis on best practices, hands-on activities drawn from her interviews, and rock-solid educational theory to back it all up, Joan Lazarus will change how you look at your practice, and how you look at change.
Part of Intellect's World Film Locations series, World Film Locations: Helsinki explores the relationship between the city, cinema, and Finnish cultural history. Cinematic representations of Helsinki range from depictions of a northern periphery to a space of cosmopolitanism, from a touristic destination to a substitute for Moscow and St. Petersburg during the Cold War. The city also looks different depending on one's perspective, and World Film Locations: Helsinki illustrates this complexity by providing a visual collection of cinematic views of Helsinki. This cinematic city is a collective work where individual pieces construct a whole, and one which we, as viewers, then shape according to our perspectives. The contributors emphasize the role of the city in identity and cultural politics throughout Finnish film history and its central role as the locus for negotiating Finland's globalization.
Building on Robert J. Landy's seminal text, Handbook of Educational Drama and Theatre, Landy and Montgomery revisit this richly diverse and ever-changing field, identifying some of the best international practices in Applied Drama and Theatre. Through interviews with leading practitioners and educators such as Dorothy Heathcote, Jan Cohen Cruz, James Thompson, and Johnny Saldaña, the authors lucidly present the key concepts, theories and reflective praxis of Applied Drama and Theatre. As they discuss the changes brought about by practitioners in venues such as schools, community centres, village squares and prisons, Landy and Montgomery explore the field's ability to make meaning of a vast range of personal and social issues through the application of drama and theatre.