"Applied Theatre: Performing Health and Wellbeing is the first volume in the field to address the role that theatre, drama and performance have in relation to promoting, developing and sustaining health and wellbeing in diverse communities. Challenging concepts and understanding of health, wellbeing
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and illness, it offers insight into different approaches to major health issues through applied performance. With a strong emphasis on the artistry involved in performance-based health responses, situated within a history of the field of practice, the volume is divided into two sections: Part One examines some of the key questions around research and practice in applied performance in health and wellbeing, specifically addressing the different regional challenges that dominate the provision of health care and influence wellbeing: how the aging population of the global north creates pressure on lifetime healthcare provision, while the global south is dominated by a higher birth rate and a larger population under 15 years old. Part Two comprises case studies and interviews from international practitioners that reflect the diversity of practices across the world and in particular differences between work in the northern and southern hemispheres. These case studies include a sanitation project in a Hmong refugee camp in Thailand in the 1980s, and the sanitation and rural development projects initiated by the traveling theatre troupes of a number of University theatre departments in Africa – Makerere in Kampala, Uganda; Botswana; Lesotho and Dar es Salaam, Tanzania – which began in the 1960s. It considers the emergence of Theatre for Development's use as a health approach, considering the work of Laedza Batanani and the influences of Augusto Boal's Theatre of the Oppressed." (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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"This Module is not about placing a value on artistic expression, but rather about capturing the true impact of Participatory Theatre for Change (PTC) and helping advance the field through the development of vetted best practice. As discussed in the Module, this starts with design, focusing on the i
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mplementation context and understanding the full dynamics in which PTC activities will take place. The Context Analysis process will help determine how PTC can best be utilised in the implementation environment, how complex the programme should be, and if there are additional activities needed to ensure impact. The information from preliminary design thinking and the Context Analysis then supports the identification and contextualization of the key interrelated theories of change that apply to the programme, serving as a foundation from which the activities can be evaluated. Monitoring then allows for an iterative process of designing individual performances, engaging appropriately and in a context sensitive manner with the community, as well as determining if the PTC activities as implemented are trending towards impact. Regular monitoring helps with course corrections when needed, and leads towards more effective programming. The monitoring of the process and quality helps ensure that the performances are doing no harm, artistic expressions, and implemented in such a manner as to achieve Reach, Resonance, and Response. Monitoring provides the temperature checks to make sure the ecosystem of PTC is balanced. And finally, evaluation helps push PTC programming to the next stage. Strong evaluations provide the community with more information about changes that have happened, even self-reflection through participatory methods. Evaluations also enable the actors to learn about the bigger picture of what worked and did not work beyond the immediacy of the performance space and towards the longer term impacts. It enables informed follow-on activities, as well as learnings that can be shared with the broader field to enhance practice more globally. Lastly, evaluations provide evidence of the great work participatory theatre does as a nuanced, emotionally connected, and transformative approach to communications for development." (Conclusion, pages 38-39)
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"Six years after its initial publication, Applied Theatre returns 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 D
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istinguished 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." (Publisher description)
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"This collection offers fresh perspectives on the aesthetics, politics and histories of applied theatre. With contributions from leading scholars in the field, the book illuminates theatre in a diverse range of global contexts and regions. Divided into three sections - histories and cultural memorie
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s; place, community and environment; and poetics and participation - the chapters interweave cutting-edge theoretical insights with examples of innovative creative practice that traverse different places, spaces and times." (Publisher description)
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"At once both guide book and provocation, this is an indispensable companion for students and practitioners of applied theatre. It addresses all key aspects: principles, origins, politics and aesthetics in a concise and accessible style designed to appeal both to those who have recently discovered t
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his sub-discipline and to experienced practitioners and academics. Part 1 is divided into two chapters. The first introduces the sub-discipline of Theatre for Development, covering its origins, principles and history, and providing an overview of theatre for development in Western contexts as well as in Africa, Asia, the Indian Subcontinent and Latin America. The second focuses upon theoretical and philosophical issues confronting the discipline and its relationship to contemporary politics, as well as considering its future role. Part 2 consists of seven chapters contributed by leading figures and current practitioners from around the world and covering a diverse range of themes, methodologies and aesthetic approaches. One chapter offers a series of case studies concerned with sexual health education and HIV prevention, drawn from practitioners working in Vietnam, Papua New Guinea, Southern Africa, and China. Other chapters include studies of intercultural theatre in the Peruvian Amazon; a programme of applied theatre conducted in schools in Canterbury, New Zealand, following the 2010 earthquake; an attempt to reinvigorate a community theatre group in South Brazil; and an exchange between a Guatemalan arts collective and a Dutch youth theatre company, besides others." (Publisher description)
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"The contributors explore diverse contexts of performance to discuss peoples' own reflections on political subjectivities, governance and development. The volume refocuses anthropological engagement with ethics, aesthetics, and politics to examine the transformative potential of political performanc
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e." (Publisher description)
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"This toolkit is designed to introduce young people to an innovative theater methodology that creatively examines and transforms conflict. After working through the exercises in this manual, youth will be equipped to lead community dialogue as agents of positive change. The facilitation guide and th
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eater curriculum that follow were created for the USAID-funded Youth Theater for Peace (YTP) project. Since its launch in 2010, YTP has promoted sustainable conflict prevention at the community level through theater. YTP trained 284 youth and adults in conflict mitigation through the use of interactive theater in four conflict-affected regions of Kyrgyzstan. The result was the creation of 33 schoolbased drama clubs, which reached more than 50,000 audience members. Youth in the YTP program engage with each other and their communities through theater activities based on Drama for Conflict Transformation (DCT), a participatory theater methodology in which youth develop short plays based on conflict issues and present them to their communities in interactive performances." (Introduction)
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"This paper explores the characteristics of the puppet which can be utilized to generate critical thinking and informed choices in a troubled society with reference to projects of historical and contemporary importance. As an animated performance object the puppet has an imagined life which enables
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an unusual freedom of expression so that controversial social and political ideas and conventions may be challenged. As a dual-natured performance object the puppet has an extraordinary license to criticize and mock by means of satire and parody. These qualities offer artists as activists remarkable opportunities to create entertainment aimed at enhancing social and political awareness and transformation while conscientising audiences at the same time." (Abstract)
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"The Theater for Development (TfD) movement seeks to empower subaltern communities by using their own language and culture to strategize solutions to their problems. This chapter looks at historical and cultural factors in both the pre-colonial and colonial periods, which may have encouraged the ris
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e of TfD. It examines more immediate influences, mostly in the post-colonial period, and how they have created diverse forms of social theater in different continents and regions. After an attempt to elucidate key theories concerning the practice of TfD, the chapter discusses some of its articulations with a broader range of global communications. Arguably the most direct progenitor of TfD can be found in schools and University Drama. One of the major differences between TfD in Africa and in the rest of the Third World lies in patronage, the source of funding and its direct or indirect impact on the ideological stance of theater activists." (Summary)
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"This chapter will present the rhetorical features that comprise the dramatic mechanism, and illustrate them through case studies of Israeli plays that raise diverse sensitive health subjects in Israel's multicultural society, such as violence against women, obesity, novice teen drivers, and illegal
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drug use. At the outset, this chapter will present the characteristics of drama construction from the fields of drama and rhetorical persuasion." (Page 134)
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"This manual is an opportunity for the Civil Peace Service (CPS) networks to share the experiences of some of the people and organisations who use theatre as a tool for communication, change and peace. You will find theoretical bases, concrete examples related to the contents and some techniques and
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methods we would like to make available to as wide an audience as possible. While the goal is not to turn you into professional entertainers, you will find techniques, tips, and other people's hands-on experiencience in the discipline. The purpose of this manual is to de-dramatise the art of the sketch, the role play, the theatre and add it to the toolkit of the CPS peace workers. This is theatre practice as a tool for reflection and communication, for expressing emotions and points of view, be they diametrically opposed, which can open a chink in apparently sealed situations weighed down in dead ends or which seem to be impossible to resolve and let some light into conflicts between people and communities. All the experiences described in this manual have been developed in a community-based way with the help of experienced peace workers and African artists." (Introduction)
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"This brochure addresses the role of African youth in peace work, the hurdles and sources of potential. The CPS networks in Africa place particular emphasis on working with young people. You may already have read articles about peace work by and with young people in other publications in the “Buil
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ding Peace” series. What has impressed us most in the contributions to this publication are the courageous and creative initiatives and the central role played by artistic expression and culture, or, to be more precise, the multiplicity of cultures. The strengths and challenges of the multi-cultural aspect of the Civil Peace Service’s work are richly illustrated in the wide range of articles." (https://www.ziviler-friedensdienst.org)
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"This paper discusses the place of theatre as a tool for development communication. In this regard, the paper projects the potency of theatre in enhancing development and its role in influencing social change. The paper submits that, development starts with people and not with ‘goods’. It includ
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es their education, empowerment and preservation of people’s cultural identity and all that enhances their well being and makes for a good life. Theatre for Development as a Strategic communication method is a powerful tool that can improve the chances of success of development projects. It strives for behaviour change not just information dissemination, education, or awareness-raising by Interrogating and possibly challenging traditional philosophies and visions of development where the top down model to development is replaced with the bottom up model in a bid to transfer the control of development to the target recipients of the intended development in a situation whereby the recipients become active participants - ‘spec actors’ not ‘spectators’, in the process and they – the people define how and when development happens." (Abstract)
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"Dance, music, and oral narratives are an important and vibrant part of cultural practice and heritage in Timor-Leste. But while Timorese people have used such creative methods and processes during rituals, celebrations, and their fight for independence, today arts and artistic expression become an
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increasingly popular strategy in development cooperation. Especially different forms of so-called participatory theater with origins in development cooperation, arts, and social movements, present themselves as innovative, participatory, and well applicable in terms of capacity building and stimulating positive social transformation. Based on the author’s experience and observations, this article critically examines the alliance between various stakeholders in Timor-Leste engaging with the fact that the current scene of participatory theater can hardly be seen as an independent grassroots or even social movement, rather than an initiated top-down process by donors with specific agendas." (Abstract)
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"Much has been written about theatre's capacity to create social change. Theatre of Good Intentions: Challenges and Hopes for Theatre and Social Change, however, looks at some of the reasons why achieving such goals is hard; examining what theatre can and can't do. It critiques the limitations of th
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eatre in the creation of social change, in order to engage in a productive discussion of theatre's strengths - and weaknesses - and theatre artists' opportunities to make change in an unjust world. This book focuses on theatre's impact on both participants and spectators, examining a wide range of contemporary applied and political theatre case studies, engaging with some of the most common forms of theatre used towards the goals of social change, including Theatre of the Oppressed, professional political theatre in performance, community-based theatre, prison theatre, and classroom drama. Theatre of Good Intentions constructs an argument advocating for artists and students to think strategically about the limitations and opportunities of theatre as a medium of social change." (Publisher description)
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"The power of the puppet shows itself in diverse fields: not only in the puppet theatres, not only in rituals and magical spells, but also in the broad range of education and therapy. This has also been recognised by the international puppetry organisation – UNIMA – and the Puppets in Education
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Commission was founded at the Congress in Budapest in 1996 [...] The book covers all three areas: education, development (written by three authors from Great Britain, who use that very appropriate term applied puppetry) and therapy." (Preface, page 7-8)
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"During the 60s, Theatre for Development was introduced into several states in Africa. The focus at that time was to utilize theatre as a tool of communication in development projects. During the 80s Tanzania developed their own variant of this genre through the initiative of the University of Dar e
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s Salaam’s Department of Fine and Performing Arts offering lectures on Theatre for Development. They wanted to develop a supportive theatre and theatrical methods to improve the conditions in their communities. Self-determination and participation for the townspeople in the local conflict resolution process was the department’s keywords. The basic idea was that Theatre for Development should be based on the local and popular theatre traditions. Through popular theatre, the whole population could be gathered whether they be young or old, women, men or disadvantaged. By means of storytelling, dance, drama, music, and songs people were encouraged to express themselves about problems in society. This included both mainstream and marginalized groups that did not usually take part in verbal discussions and express their opinions. The intention was to form a theatre genre that would gather the whole population to contribute to social change and improved living conditions. This introductory paper will focus upon the different methods used in Tanzanian Theatre for Development and will discuss Theatre for Development’s use as a vehicle for social change and increasing awareness about Tanzanian traditions and identity." (Abstract)
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