"International community development is increasingly using theatre as a tool. This article analyses this use, arguing that for theatre to be successful to support social change and development, participatory practice must be at its core. In exploring this, it looks at what affects theatre’s succes
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s in supporting social change and development and what hinders its use as a tool, and offers suggestions to practitioners and supporting bodies interested in using participatory theatre." (Publisher description)
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"Providing an international overview of the latest work and thinking in Drama and Education, and featuring interviews with a worldwide variety of leading practitioners and theorists, this book explores how Educational Theatre, Applied Theatre and Drama Therapy facilitate change within schools, commu
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nity centres, prisons, and theatres." (Publisher description)
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"Acting on HIV offers a sustained and relatively systematic inquiry into drama as an approach to discussion of HIV/AIDS and related attitudes and behaviors. A distinctive feature of the research that is presented in Acting on HIV is the emphasis on the potential for and value of using drama to promo
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te vital social change in addition to individual behaviour change. It has a strong theoretical foundation and seeks to interrogate the ethical, theoretical and practical complexities of using drama to address issues HIV & AIDS. The research that is communicated through the book is original and timely and will make a significant, trans-disciplinary contribution to scholarly conversations about the role/s and significance of drama in addressing issues of HIV & AIDS." (Publisher description)
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"Desde hace más de seis años la Corporación Jurídica Libertad incorporó a su quehacer la atención de víctimas de crímenes de Estado como uno de sus propósitos estratégicos a ser desarrollado en el mediano y largo plazo. Reconocemos que el trabajo de representación de víctimas, y sobre to
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do el de motivación para la articulación a procesos organizativos sociales y populares, no ha sido fácil, en tanto los derechos a la verdad, la justicia y la reparación en una sociedad como la nuestra se encuentran lejos de ser garantizados desde una dimensión integral [...] Para el mantenimiento y fortalecimiento de esta apuesta, con copartes alemanas del Servicio Civil para la Paz y AGEH, hace ya casi tres años, bajo la tutela y responsabilidad de la directora y profesora de teatro Inge Kleutgens adelantamos una propuesta en teatro-pedagogía con el propósito de fincar un apoyo sicopedagógico a las víctimas y motivar su inclusión y la motivación propia y directa de sus derechos por medio de la expresión artística, posibilitada por la actuación a través del teatro. Durante este tiempo se han puesto en escena siete obras de teatro: “Bingo me gané”, “Ausente”, “La Madre”, “Pueblo del Barro”, “Sí o no”, “Más que conciencia” y “Cinco minutos” como uno de los productos paridos por el diplomado “Teatro-pedagogía para la paz y la transformación social”. Todas estas obras han contado con la participación de actores y actrices no profesionales, provenientes de las organizaciones sociales, populares y de víctimas presentes en la ciudad de Medellín y de algunas subregiones del departamento de Antioquia. Ahora nos corresponde presentar el producto de un proceso iniciado apenas seis meses atrás con el diplomado “Teatro-pedagogía para la paz y la transformación social”, contenido en el libro “Teatro para la transformación social”, en el cual se explica la importancia del teatro en la construcción de resistencia a la opresión teniendo como hilo conductor a la teatro-pedagogía. El teatro, en palabras de Inge constituye una expresión artística puesta al servicio de los demás y por sobre todo de los procesos de resistencia y de trasformación de las relaciones sociales imperantes." (Presentación)
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"Applying research into assessments of community theatre, epidemiology, and young people's shared and private stories using a wide range of methodologies, this book explores the potential efficacy of community theatre to prevent the spread of HIV/AIDS in Tanzania with reference to several other comp
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arable sites in Africa." (Publisher description)
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"This chapter explores the relationship between theatre and neoliberal policies in Tanzania. It analyses the consequences of neoliberalism for the Tanzanian theatre and exposes the challenges it faces as a simulacrum of people’s culture. I also present evidence on why it is important, when analyzi
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ng theatre in Tanzania just before and after independence in 1961, one should take into consideration the influence of internal and international political economies. Using the case of Theatre for Development (TfD), the chapter also deals with the assumption that neoliberal policies have pushed theatre to the periphery and created greater donor dependence." (Page 191)
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"This article analyses the importance of participation in development discourse and examines the effectiveness of theatre as a participatory technique and communication channel. It considers how theatre forms and aesthetics have potential power to produce individual and collective knowledge and alte
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r perceptions. It examines community as a unit of analysis and the role it can play in selfdetermination, considering existing power structures. It is placed in the context of Jana Sanskriti, which aims to help communities learn how to use theatre as a language for reflection, exploration, and analysis in order to articulate new direction and bring about transformation." (Abstract)
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"The synergies created through the careful application of both organic and symbolic communication demonstrably reach those most vulnerable to the spread and impact of HIV and AIDS. The Clown Project uses labour-intensive face-to-face street theatre and dialogue, participatory workshops, and symbolic
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communication such as print-based materials. Some lessons learned in selected communities in Guatemala and other countries in Central America are shared. This paper puts forward an argument in favour of careful and critical analysis of culture in formulating communication strategies with and for specific groups. This analysis takes into account relations of power within and between vulnerable groups, examining the centre–periphery dynamic between classes, genders, ethnicities, age groups, and other social identities. Both appropriately supported insider perspectives and appropriately processed outsider knowledge are recommended, along with ways of bridging science and the field, theory and practice." (Pages 560-572)
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"While there is a near unanimity on the need for participation, there is as yet no such agreement on the type and degree of participation to be adopted in projects. One thing that has never been doubted is the fact that local people have not been accorded their rightful recognition and respect by mo
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st intervention agencies, hence the failure of some projects. So, how does a project that seeks to address issues of citizenship, participation, and accountability using a variety of participatory methodologies fare, especially against the backdrop of a multiethnic, multi-religious, and politically complex society like Nigeria? This paper examines the use of these methodologies, highlighting issues drawn out, and the successes and limitations of the findings for future research. Effective as the methods appeared to be, there were many questions and issues unanswered beyond the immediate mandate of the project, which beg for attention in order for the communities to move towards genuine development and stop open display of sometimes misplaced aggression." (Abstract)
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"Applied Theatre is the first collection to assist practitioners and students in developing critical frameworks for their own community-based theatrical projects. The editors draw on thirty case studies in applied theatre from fifteen countries—covering a wide range of applications from theatre, e
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ducation, medicine, human rights and community development. The text presents essential readings to provide a comprehensive survey of the field. Infused with an historical and theatrical overview of practical theatre, Applied Theatre offers clear developmental approaches and models for application." (Back cover)
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"Participatory theatre is an approach in which the actors interact with the public. Throughout the event, the public participates to adapt, change or correct a situation, an attitude or a behaviour that is developed during the show. The NGO “Search for Common Ground” combined forum theatre techn
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iques initially developed by Augusto Boal in Brazil in the 1960s with its own approach aimed at seeking collaborative rather than adversarial solutions to conflict in war-torn Eastern Democratic Republic of Congo. This training manual first gives a brief introduction to participatory theatre and conflict transformation in general. Then, based on the experiences of over 600 performances, it presents practical guidelines for developing a participatory theatre process. They include: information collection; compiling information; scene development; character development; preparation of the performance location; interaction with spectators; and the skills of the conductor. Also some risks of participatory theatre are very briefly touched upon. This publication may not be sufficient to be put in practice by persons without theatre experience, as it does for example not offer practical advise on acting itself. Nevertheless, this is a very helpful introduction to the underlying principles of participatory theatre." (CAMECO Update 1-2010)
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"Stock taking of organisational forms, methodologies, intentions, themes and aesthetic form of Theatre for Development in Tanzania 1980 to 2002. In spite of the widely criticized dependency on funding organisations, Theatre for Development is still a vibrant form of theatre in Tanzania. The aestheti
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c forms of expression and dramaturgical characteristic make it a genuine artistic genre of its own, while the inherent contradictions of ideal form and pragmatics form part of its dynamic." (Publisher description)
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"Theatre has become a prominent tool in the extensive struggle to address social problems in Africa, and it is fairly logical that puppets - as part of the traditional forms of dramatic expression of many African countries - would surface in theatre for social change. A variety of reasons are given
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by theatre practitioners for their choosing puppetry to do this. This paper analyses the reasons given by some of the most prominent practitioners in Africa as a developing continent and the puppet's abilities to act as an efficient code to represent and transmit messages directed toward social change." (Page 1)
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