The Routledge Companion to Applied Performance provides an in-depth, far-reaching and provocative consideration of how scholars and artists negotiate the theoretical, historical and practical politics of applied performance, both in the academy and beyond. These volumes offer insights from within and beyond the sphere of English-speaking scholarship, curated by regional experts in applied performance. The reader will gain an understanding of some of the dominant preoccupations of performance in specified regions, enhanced by contextual framing. From the dis(h)arming of the human body…mehr
The Routledge Companion to Applied Performance provides an in-depth, far-reaching and provocative consideration of how scholars and artists negotiate the theoretical, historical and practical politics of applied performance, both in the academy and beyond.
These volumes offer insights from within and beyond the sphere of English-speaking scholarship, curated by regional experts in applied performance. The reader will gain an understanding of some of the dominant preoccupations of performance in specified regions, enhanced by contextual framing. From the dis(h)arming of the human body through dance in Colombia to clowning with dementia in Australia, via challenges to violent nationalism in the Balkans, transgender performance in Pakistan and resistance rap in Kashmir, the essays, interviews and scripts are eloquent testimony to the courage and hope of people who believe in the power of art to renew the human spirit.
Students, academics, practitioners, policy-makers, cultural anthropologists and activists will benefit from the opportunities to forge new networks and develop in-depth comparative research offered by this bold, global project.
Tim Prentki is Emeritus Professor of Theatre for Development at the University of Winchester. He is the co-editor of The Applied Theatre Reader (2008), author of Applied Theatre: Development (2015) and The Fool in European Theatre: Stages of Folly (2011), and co-editor with Ananda Breed of Performance and Civic Engagement (2018). Ananda Breed is Professor in Theatre at the University of Lincoln. She is the author of Performing the Nation: Genocide, Justice, Reconciliation (2014), co-editor with Tim Prentki of Performance and Civic Engagement (2018), and Principal Investigator of the Arts and Humanities Research Council (AHRC) Global Challenges Research Fund (GCRF) project Mobile Arts for Peace (MAP): Informing the National Curriculum and Youth Policy for Peacebuilding in Kyrgyzstan, Rwanda, Indonesia and Nepal (2020-2024).
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Introduction to Volume Two; Part I Brazil; Introduction to Brazil and West Africa - Marina Henriques & Taiwo Afolabi; Chapter 1: 'Pombas Urbanas: sowing wings in a banished city'. - Adailtom Alves Teixeira & Alexandre Falcão de Araújo; Chapter 2: Interview with the Canto da Lagoa Community Theatre Group. - Marcia Pompeo Nogueira; Chapter 3: Theatre crossed by the territory in the work of Grupo Códico - Jorge Braga Jr.; Chapter 4: 'On fantastical journeys, who would save the adolescents from Maré?' - Marina Henriques; Chapter 5: 'Every Patrol Car has a Little of the Slave Ship: The Emergency of the Listening Place'. - Altemar Di Monteiro; Chapter 6: The Memory of The Contestado War in the Musical Theatre of youth from rural settlements in the south of Brazil. - Elaine Cristina da Silva & Tereza Mara Franzoni; Chapter 7: 'Paraíso do Tuiuti:"I am not a slave of no master": The carnival of 2018 stars in the political debate about the 2016 Coup in Brazil'. - Fátima Costa di Lima; Chapter 8: The power of subtle learning: directions and achievements of the Heliópolis Theatre Company. - Maria Fernanda Vomero; Part II West Africa; Chapter 9: Functional Arts: Theatre Praxis in Burkina Faso. - Taiwo Afolabi; Chapter 10: Conversation: A Folktale-based community play as a model for stimulating Community development. - Isi Agboaye; Chapter 11: Geographies of Conflict: Resolving Farmer-Herdsmen Conflict through Street Theatre. - Alex C. Asigbo & Tochukwu J. Okeke; Chapter 12: Politics of/and Performance Spaces in Theatre of Social Action: Two Decades of Segun Adefila's Crown Troupe of Africa. - Tunji Azeez; Chapter 13: Applied Performances in Burkina Faso: Methodological and Topographical Overview and Challenges. - Annette Bühler-Dietrich; Chapter 14: The Anglophone Problem in Cameroon: Participatory Theatre and Video Constructs. - Tume Fondzeyuf K.; Part III South Asia; Introduction to Part III Framing the South Asian Discourse. - Syed Jamil Ahmed; Chapter 15: Queer Performativities in Contemporary Pakistan: A Genealogical Approach. - Fawzia Afzal-Kahn; Chapter 16: 'Of Stones, Songs, and Freedom: Languages of Resistance in Kashmir'. - Tanveer Ajsi; Chapter 17: 'Curfews of Thought'. - Ruwanthie de Chickera; Chapter 18: Towards a Pedagogic analysis of Dance and Movement Therapy - Urmimala Sarkar Munsi; Chapter 19: Street Theatre in Afghanistan: a Roundtable - Sadeq Naseri (chair); Chapter 20: A Conversation: The Third Tune (Teesri Dhun) - Claire Pamment et al.; Chapter 21: Shat Bhai Chompa: A Sociodrama in an urban slum of Dhaka City. - Ashfique Rizwan et al.; Chapter 22: Storytelling through Playback Theatre: Building a collective consciousness to promote social cohesion in Nepal. - Nar Bahadur Saud; Chapter 23: Transforming Trauma in Post-Conflict Settings: Ethnographic Evidence from a Social Circus project in Afghanistan - Annika Schmeding; Chapter 24: Short essays; Part IV Arab World; Chapter 25: Empowerment, Capacity Building, and Freedom - Marina Barham and Amira Barham; Chapter 26: Street Theater in Tunisia: Fanni Raghman Anni (case study)- Seif Eddine Jlassi; Part V United Kingdom; Introduction to Part V: Performances of Age (UK)- Caiomhe McAvinchey; Chapter 27: Six Songs for Paul: How The Lawnmowers Independent Theatre Company transform experience into expertise. - Ali Campbell; Chapter 28: 'How I Learned to Stop Worrying and Love': Staging relational care with Lois Weaver and Split Britches. - Jen Harvie; Chapter 29: Welcome to the Posh Club. - Ben Walters; Chapter 30: 'In the Company of Others: Enterlechy Arts, co-creating with older people. - Sue Mayo; Chapter 31: Magic Me: Interview with Chuck Blue Lowry, Kate Hodson, Susan Langford, Sue Mayo and Julian West. - Caiomhe McAvinchey; Chapter 32: Having dementia shouldn't exclude you from cultural experiences: An Interview with Nicky Taylor, Theatre and Dementia Research Associate, Leeds Playhouse. - Caiomhe McAvinchey; Part VI South East Asia; Introduction to Part VI: South East Asia and China: performances of age - June Wee; Chapter 33: Putting Dialogue in Context: Negotiating Contextual Influence in Applying Dialogue Theatre. - Richard Barber & Pongjit Saphakhun; Chapter 34: Crisis of Representation of Afghan Culture: an analysis of Kaikavus and Heartbeat: Silence after the Explosion. - Edmund Chow; Chapter 35: Glowing with Age - Peggy Ferroa; Chapter 36: Contemporary Issues and Challenges in Applying Performance: the case of theatre in education in Hong Kong. - Muriel Yuen-Fun Law; Chapter 37: Deceptive Simplicity - Michelle Ngu; Chapter 38: Rethinking the Research on Both Sides, Now: An Arts-Based Community Engagement Project on End-of-Life in Singapore. - Charlene Rajendran & Prue Wales; Chapter 39: Performances of 'what if' and 'as if': Exploring Plausible Futures through Imaginal and Vicarious Experiences in Playbuilding. - Jennifer Wong
Introduction to Volume Two; Part I Brazil; Introduction to Brazil and West Africa - Marina Henriques & Taiwo Afolabi; Chapter 1: 'Pombas Urbanas: sowing wings in a banished city'. - Adailtom Alves Teixeira & Alexandre Falcão de Araújo; Chapter 2: Interview with the Canto da Lagoa Community Theatre Group. - Marcia Pompeo Nogueira; Chapter 3: Theatre crossed by the territory in the work of Grupo Códico - Jorge Braga Jr.; Chapter 4: 'On fantastical journeys, who would save the adolescents from Maré?' - Marina Henriques; Chapter 5: 'Every Patrol Car has a Little of the Slave Ship: The Emergency of the Listening Place'. - Altemar Di Monteiro; Chapter 6: The Memory of The Contestado War in the Musical Theatre of youth from rural settlements in the south of Brazil. - Elaine Cristina da Silva & Tereza Mara Franzoni; Chapter 7: 'Paraíso do Tuiuti:"I am not a slave of no master": The carnival of 2018 stars in the political debate about the 2016 Coup in Brazil'. - Fátima Costa di Lima; Chapter 8: The power of subtle learning: directions and achievements of the Heliópolis Theatre Company. - Maria Fernanda Vomero; Part II West Africa; Chapter 9: Functional Arts: Theatre Praxis in Burkina Faso. - Taiwo Afolabi; Chapter 10: Conversation: A Folktale-based community play as a model for stimulating Community development. - Isi Agboaye; Chapter 11: Geographies of Conflict: Resolving Farmer-Herdsmen Conflict through Street Theatre. - Alex C. Asigbo & Tochukwu J. Okeke; Chapter 12: Politics of/and Performance Spaces in Theatre of Social Action: Two Decades of Segun Adefila's Crown Troupe of Africa. - Tunji Azeez; Chapter 13: Applied Performances in Burkina Faso: Methodological and Topographical Overview and Challenges. - Annette Bühler-Dietrich; Chapter 14: The Anglophone Problem in Cameroon: Participatory Theatre and Video Constructs. - Tume Fondzeyuf K.; Part III South Asia; Introduction to Part III Framing the South Asian Discourse. - Syed Jamil Ahmed; Chapter 15: Queer Performativities in Contemporary Pakistan: A Genealogical Approach. - Fawzia Afzal-Kahn; Chapter 16: 'Of Stones, Songs, and Freedom: Languages of Resistance in Kashmir'. - Tanveer Ajsi; Chapter 17: 'Curfews of Thought'. - Ruwanthie de Chickera; Chapter 18: Towards a Pedagogic analysis of Dance and Movement Therapy - Urmimala Sarkar Munsi; Chapter 19: Street Theatre in Afghanistan: a Roundtable - Sadeq Naseri (chair); Chapter 20: A Conversation: The Third Tune (Teesri Dhun) - Claire Pamment et al.; Chapter 21: Shat Bhai Chompa: A Sociodrama in an urban slum of Dhaka City. - Ashfique Rizwan et al.; Chapter 22: Storytelling through Playback Theatre: Building a collective consciousness to promote social cohesion in Nepal. - Nar Bahadur Saud; Chapter 23: Transforming Trauma in Post-Conflict Settings: Ethnographic Evidence from a Social Circus project in Afghanistan - Annika Schmeding; Chapter 24: Short essays; Part IV Arab World; Chapter 25: Empowerment, Capacity Building, and Freedom - Marina Barham and Amira Barham; Chapter 26: Street Theater in Tunisia: Fanni Raghman Anni (case study)- Seif Eddine Jlassi; Part V United Kingdom; Introduction to Part V: Performances of Age (UK)- Caiomhe McAvinchey; Chapter 27: Six Songs for Paul: How The Lawnmowers Independent Theatre Company transform experience into expertise. - Ali Campbell; Chapter 28: 'How I Learned to Stop Worrying and Love': Staging relational care with Lois Weaver and Split Britches. - Jen Harvie; Chapter 29: Welcome to the Posh Club. - Ben Walters; Chapter 30: 'In the Company of Others: Enterlechy Arts, co-creating with older people. - Sue Mayo; Chapter 31: Magic Me: Interview with Chuck Blue Lowry, Kate Hodson, Susan Langford, Sue Mayo and Julian West. - Caiomhe McAvinchey; Chapter 32: Having dementia shouldn't exclude you from cultural experiences: An Interview with Nicky Taylor, Theatre and Dementia Research Associate, Leeds Playhouse. - Caiomhe McAvinchey; Part VI South East Asia; Introduction to Part VI: South East Asia and China: performances of age - June Wee; Chapter 33: Putting Dialogue in Context: Negotiating Contextual Influence in Applying Dialogue Theatre. - Richard Barber & Pongjit Saphakhun; Chapter 34: Crisis of Representation of Afghan Culture: an analysis of Kaikavus and Heartbeat: Silence after the Explosion. - Edmund Chow; Chapter 35: Glowing with Age - Peggy Ferroa; Chapter 36: Contemporary Issues and Challenges in Applying Performance: the case of theatre in education in Hong Kong. - Muriel Yuen-Fun Law; Chapter 37: Deceptive Simplicity - Michelle Ngu; Chapter 38: Rethinking the Research on Both Sides, Now: An Arts-Based Community Engagement Project on End-of-Life in Singapore. - Charlene Rajendran & Prue Wales; Chapter 39: Performances of 'what if' and 'as if': Exploring Plausible Futures through Imaginal and Vicarious Experiences in Playbuilding. - Jennifer Wong
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