"Games for Actors and Non-Actors is the classic and bestselling book by the founder of Theatre of the Oppressed, Augusto Boal. It sets out the principles and practice of Boal's revolutionary method, showing how theatre can be used to transform and liberate everyone - actors and non-actors alike! Thi
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s new third English edition includes recently uncovered interviews and essays from the 1970s, some of which featured in the earliest Portuguese edition of this book and a new essay by the theatre director Sergio de Carvalho, which looks at Boal's work in the context of Brazilian theatre and politics over the past fifty years. This is a vital handbook for theatre makers and activists of all kinds who want to deepen their understanding of the theory and practice of Boal's Theatre of the Oppressed. It is also an excellent introduction for those new to the system." (Publisher description)
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"The recent barbaric murder of an investigative journalist in Malta who was looking into corruption at the top echelons of power sparked off a civil society movement, Repubblika, spurring ordinary citizens into participating in collective protest action. The movement also incorporated a loose groupi
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ng of women calling themselves ‘Occupy Justice’. Different forms of protest against government corruption have resulted in the resignation of various senior politicians and high-ranking officials, including the Prime Minister. Taking as a point of departure the struggle against the unequal distribution of power as defined by Michel Foucault and Jacques Rancière, the empowering force of civil protest is here examined in relation to how power is appropriated and how institutional power is resisted. Micromobilization and mesomobilization are seen as two means of staging protest and creating a common force with which to confront corrupt power structures. Protest, power, and resistance are viewed in the light of theatrical events; the creative means deployed to stage protests are discussed. The aesthetic qualities meant to transform perception and move people to action for bringing about political change are highlighted in relation to both sensory and symbolic dynamics." (Abstract)
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"Politisches Theater spiegelt gesellschaftliche Phänomene und diskutiert sie zugleich. Mit den Möglichkeiten der darstellenden, bildenden und aktivistischen Kunst vermittelt es zwischen Partizipation und Problematisierung, Selbstvergewisserung und Abgrenzung. Florian Malzacher, international verne
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tzter Kurator, Autor und Dramaturg, beleuchtet Inhalte und Formen des Politischen Theaters anhand dieser mentalen Widerhaken: Wer wird wie repräsentiert? Wer legt welches Verständnis von Identität zugrunde? Wer bedient sich welcher Partizipationsformen, und mit welcher Reichweite geschieht das? Wie verbinden sich im Politischen Theater Kunst und Aktivismus? Welche Bezüge zwischen dem Politischen Theater - als Pro-Vokation im Wortsinn - und den großen Themen der Gegenwart bestehen, auch in globaler Perspektive? Malzacher bietet einen ebenso spannenden wie inspirierenden Blick hinter die Kulissen und auf die Bühnen des Politischen Theaters und arbeitet die Chancen, den Stellenwert und die Bruchzonen dieser Kunstform heraus." (Verlagsbeschreibung)
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"What are the stakes of cultural production in a time of war? How is artistic expression prone to manipulation by the state and international humanitarian organizations? In the charged political terrain of post-genocide Rwanda, post-civil war Uganda, and recent violence in the Democratic Republic of
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Congo, Laura Edmondson explores performance through the lens of empire. Instead of celebrating theatre productions as expression of cultural agency and resilience, Edmondson traces their humanitarian imperatives to a place where global narratives of violence take precedence over local traditions and audiences. Working at the intersection of performance and trauma, Edmondson reveals how artists and cultural workers manipulate narratives in the shadow of empire and how empire, in turn, infiltrates creative capacities." (Publisher description)
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"Popular theatre occupies a special space in Matabeleland because it is situated in the everyday lives of ordinary people, and is able to articulate their experiences and to create spaces for them to ‘speak to power’. In the wake of the Gukurahundi massacres and perceived marginalization of Mata
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beleland in the 1980s, theatre groups used their plays to probe issues that were shunned by mainstream media. We argue that theatre has been used as part of radical citizen media in a context in which mainstream public spheres are restricted. We also demonstrate that theatre groups in Matabeleland have shifted between ‘Matabeleland particularism’ and addressing broader, ‘national’ concerns, reflecting historical context. However, theatre is not always used to express views that support the downtrodden against the establishment. In the Matabeleland case and also Zimbabwe as a whole, theatre has also been employed by the state and other pro-establishment groups for ideological mobilization." (Abstract)
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"Despite the repressive power of the current regime the immense creativity of popular cultural practices, that negotiate and resist a repressive system, is a potent and dynamic force. This book draws on the expertise and experience of Iranian and international academics and activists to address dive
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rse areas of social and cultural innovation that are driving change and progress. While religious conservatism remains the creed of the establishment, this volume uncovers an underground world of new technology, media and entertainment that speaks to women seeking a greater public role and a restless younger generation that organises and engages with global trends online." (Publisher description)
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"Routledge Handbook of Asian Theatre is an advanced level reference guide which surveys the rich and diverse traditions of classical and contemporary performing arts in Asia, showcasing significant scholarship in recent years. An international team of over 50 contributors provide authoritative overv
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iews on a variety of topics across Asia, including dance, music, puppetry, make-up and costume, architecture, colonialism, modernity, gender, musicals, and intercultural Shakespeare. This volume is divided into four sections covering: Representative Theatrical Traditions in Asia; Cross-Regional Aspects of Classical and Folk Theatres; Modern and Contemporary Theatres in Asian Countries; Modernity, Gender Performance, Intercultural and Musical Theatre in Asia."(Publisher description)
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"Laura Edmondson examines how politics, social values, and gender are expressed on stage. Now a disappearing tradition, Tanzanian popular theatre integrates comic sketches, acrobatics, melodrama, song, and dance to produce lively commentaries on what it means to be Tanzanian. These dynamic shows inv
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ite improvisation and spontaneous and raucous audience participation as they explore popular sentiments. Edmondson asserts that these performances overturn the boundary between official and popular art and offer a new way of thinking about African popular culture. She discusses how the blurring of state agendas and local desires presents a charged environment for the exploration of Tanzanian political and social realities: What is the meaning of democracy and who gets to define it? Who is in power, and how is power exposed or concealed? What is the role of tradition in a postsocialist state? How will the future of the nation be negotiated?" (Publisher description)
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"Medien sind in den Alltag eingewoben, fungieren als Tagesbegleiter und werden meist beiläufig und ohne große Anstrengung genutzt. Doch was treibt Menschen dazu, ihre Zeit medialen Angeboten zu widmen? Von welchen Faktoren wird die Mediennutzung beeinflusst? Gibt es gruppenspezifische Nutzungsmust
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er? Und warum werden einzelne Formate und Medien genutzt? In den Beiträgen dieses Buches werden die Bedürfnisstrukturen und die Alltagsbeanspruchung von Rezipienten in den Mittelpunkt gerückt und dadurch Alltagsmuster einzelner Nutzergruppen und Nutzungsmuster einzelner Formate und Medien präsentiert. Hieraus werden Mediennutzungsmotive abgeleitet und Rückschlüsse auf den Stellenwert medialer Inhalte gezogen. Der Einsatz von Leitfadeninterviews und Gruppendiskussionen erbrachte eine Vielzahl neuer sowie eine Ausdifferenzierung bereits bekannter Mediennutzungsmotive, wodurch die in diesem Sammelband präsentierten Studien auch für Medienmacher interessant werden. Nathalie Huber ist wissenschaftliche Mitarbeiterin am Institut für Kommunikationswissenschaft und Medienforschung der Universität München. Michael Meyen ist dort Professor." (Verlagsbeschreibung)
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"The purpose of this book is to provide a first step for anyone interested in discovering popular culture in India today. The chapters cover cinema, television, and radio; newspapers and magazines; music, theater, and literature; and sport, providing an explanation of the critical developments in ea
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ch of these fields. The book also explores the changing lifestyles in India, particularly in the areas of shopping, eating, and other forms of consumerism. Each chapter has its own list of the books, academic papers, and articles in the popular press that I found useful in the compilation of the book." (Preface)
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