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Enna Petersen has never been good at making personal decisions, particularly when she has to choose between her passions. As a theater director, the stage is her world, the spotlight her vitamin D, the waft of greasepaint her oxygen. However, when her handsome American businessman boyfriend proposes and paints the picture of a luxurious life in Pennsylvania, she has to tear her heart in two and give up on her theatrical dreams. But as she navigates the visa gauntlet at the US embassy in England, she meets Will, a charismatic, erudite actor who encourages her to not give up on her dilapidated and much beloved theater. She is torn, tormented by the thought that her departure will certainly lead to Ashtead Theatre's demise, but she follows her heart, says goodbye to her homeland, and begins her new role as Cole's fiancée in America. However, homesickness soon strikes. Enna longs for the English countryside, her theater, and the passion that Will has inspired in her. After her American dreams fall apart, she is reunited with all three back in the UK, and with Will's help, she soon finds her theater more successful than she ever thought possible. She has everything she's ever wanted, including a gorgeous man in her bed to share it with, so why is it she can't stop thinking about Cole?
The Applied Theatre Reader is the first book to bring together new case studies of practice by leading practitioners and academics in the field and beyond, with classic source texts from writers such as Noam Chomsky, bell hooks, Mikhail Bakhtin, Augusto Boal and Chantal Mouffe. This new edition brings the field fully up to date with the breadth of applied theatre practice in the twenty-first century, adding essays on playback theatre, digital technology, work with indigenous practitioners, inter-generational practice, school projects and contributors from South America, Australia and New Zealand. The Reader divides the field into key themes, inviting critical interrogation of issues in applied theatre whilst also acknowledging the multi-disciplinary nature of its subject, crossing fields like theatre in educational settings, prison theatre, community performance, theatre in conflict resolution, interventionist theatre and theatre for development. A new lexicon of Applied Theatre and further reading for every part will equip readers with the ideal tools for studying this broad and varied field. This collection of critical thought and practice is essential to those studying or participating in the performing arts as a means for positive change.