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This book investigates the educative role of theater in processes of social change and development, and considers how to evaluate the use of theater as a small-scale medium in realizing development projects based on a participatory or interventionist model. The book is in three major parts. Following an introduction and an introductory chapter, the first part (The Historical Antecedents of 'Theater for Development) is concerned with the formation of theories which form the basis of the book's approach. Part 2 (From Traditional to Popular Theater: Historical Case Studies from Asia, Latin America and Africa) consists of a description of the historical development of theater as an educative medium in development processes in the Third World. Part 3 (Theater for Development: Performing Arts as Instruments of Intervention) presents a number of descriptions of theater used in clearly defined development projects. The book's 12 chapters are as follows: (1) Introduction; (2) Development and Change: People's Participation in Adult Education; (3) Popular Theater from a Social Scientific Point of View; (4) Popular Theater from an Educative Point of View; (5) Popular Theater from a Theater Historical Point of View; (6) Traditional Media for Publicity and Information Campaigns: Wayang Theater on Java and Bali; (7) Adult Education and 'Teatro Campesino' in Latin America: Mexico as an Example; (8) African Universities Hit the Road: From Travelling Theater to Theater for Development; (9) Theatrical Forms: Puppeteers and Crooners Participating in Mass Campaigns; (10) Learning Approaches: Shifting from Sector Policy in National Campaigns to Target Group Policy in Local Development Projects; (11) Target Groups: NGOs and the Marginalized Rural and Urban Poor; and (12) Conclusions. Thirteen pages of notes and a 23-page bibliography are attached. (SR)
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.
Fringe Benefits, an award-winning theatre company, collaborates with schools and communities to create plays that promote constructive dialogue about diversity and discrimination issues. Staging Social Justice is a groundbreaking collection of essays about Fringe Benefits’ script-devising methodology and their collaborations in the United States, Australia, Canada and the United Kingdom. The anthology also vividly describes the transformative impact of these creative initiatives on participants and audiences. By reflecting on their experiences working on these projects, the contributing writers—artists, activists and scholars—provide the readerwith tools and inspiration to create their own theatre for social change. “Contributors to this big-hearted collection share Fringe Benefits’ play devising process, and a compelling array of methods for measuring impact, approaches to aesthetics (with humor high on the list), coalition and community building, reflections on safe space, and acknowledgement of the diverse roles needed to apply theatre to social justice goals. The book beautifully bears witness to both how generative Fringe Benefits’ collaborations have been for participants and to the potential of engaged art in multidisciplinary ecosystems more broadly.”—Jan Cohen-Cruz, editor of Public: A Journal of Imagining America
PERSONAL STORIES IN PUBLIC SPACES gathers together some of the essays, articles, talks, and contributions to other anthologies that founders Fox and Salas have written since the earliest days of Playback Theatre, an original theatre form where audience members' stories are enacted on the spot. As well as previously published material, PSPS includes several essays written for this volume.
The Theatre for Development (TFD) is a learning strategy in which theatre is used to encourage communities to express their own concerns and think about the causes of their problems and possible solutions. This overview contributes to both the theory and practice of Theatre for Development. The author contextualises it historically within the evolving range of development theories, strategies and practices, notably including the now widely accepted notion of participatory approaches to achieving social change.
August Wilson's radical and provocative call to arms.
This book offers the first broad-based survey of the way artists, audiences and society at large are making use of social media, and how the emergence of social media platforms that allow two-way interaction between these groups has been held up as a ‘game changer’ by many in the theatre industry. The first book to analyse aesthetic, critical, audience development, marketing and assessment uptake of social media in the theatre industry in an integrated fashion, Theatre, Social Media and Meaning Making examines examples from the USA, UK, Europe and Australasia to provide a snapshot of this emerging niche within networked, telematic, immersive and participatory theatre production and reception practices. A vital new resource for the field, this book will appeal to scholars, students, and industry practitioners alike.
Theatre has often served as a touchstone for moments of political change or national definition and as a way of exploring cultural and ethnic identity. In this book Steve Wilmer selects key historical moments in American history and examines how the theatre, in formal and informal settings, responded to these events. The book moves from the Colonial fight for independence, through Native American struggles, the Socialist Worker play, the Civil Rights Movement, and up to works of the last decade, including Tony Kushner's Angels in America. In addition to examining theatrical events and play texts, Wilmer also considers audience reception and critical response.
Providing a distillation of knowledge in the various disciplines of arts education (dance, drama, music, literature and poetry and visual arts), this essential handbook synthesizes existing research literature, reflects on the past, and contributes to shaping the future of the respective and integrated disciplines of arts education. While research can at times seem distant from practice, the Handbook aims to maintain connection with the live practice of art and of education, capturing the vibrancy and best thinking in the field of theory and practice. The Handbook is organized into 13 sections, each focusing on a major area or issue in arts education research.