Theatre of Good Intentions examines limitations of theatre in the creation of social and political change. This book looks at some of the reasons why achieving such goals is hard; examining what theatre can and can't do. It examines a range of applied and political theatre case studies, focusing on theatre's impact on participants and spectators.
Theatre of Good Intentions examines limitations of theatre in the creation of social and political change. This book looks at some of the reasons why achieving such goals is hard; examining what theatre can and can't do. It examines a range of applied and political theatre case studies, focusing on theatre's impact on participants and spectators.
Dani Snyder-Young is Assistant Professor of Theatre Arts at Illinois Wesleyan University, USA. Her research focuses on applied theatre. Previous publications include articles in Research in Drama Education: The Journal of Applied Theatre Research, Theatre Research International, Youth Theatre Journal and the International Journal of Learning.
Inhaltsangabe
List of Illustrations Acknowledgements Introduction: Why Do We Want to Use Theatre to Make Social Change? PART I: IMPACTING PARTICIPANTS 1. Theatre of Good Intentions 2. Participatory Theatre and the Problem of Dominant Discourse 3. Embedded in Institutions, Beholden to Institutional Forces 4. Publishing under Apartheid: OUP in South Africa PART II: IMPACTING AUDIENCES 4. Catharsis, Critical Distance, and Change 5. Spectatorship, community, and 'otherness' 6. Responding to Contemporary Events in an Era of Instant Gratification CONCLUSION: Real Change in the Real World Bibliography Index
List of Illustrations Acknowledgements Introduction: Why Do We Want to Use Theatre to Make Social Change? PART I: IMPACTING PARTICIPANTS 1. Theatre of Good Intentions 2. Participatory Theatre and the Problem of Dominant Discourse 3. Embedded in Institutions, Beholden to Institutional Forces 4. Publishing under Apartheid: OUP in South Africa PART II: IMPACTING AUDIENCES 4. Catharsis, Critical Distance, and Change 5. Spectatorship, community, and 'otherness' 6. Responding to Contemporary Events in an Era of Instant Gratification CONCLUSION: Real Change in the Real World Bibliography Index
List of Illustrations Acknowledgements Introduction: Why Do We Want to Use Theatre to Make Social Change? PART I: IMPACTING PARTICIPANTS 1. Theatre of Good Intentions 2. Participatory Theatre and the Problem of Dominant Discourse 3. Embedded in Institutions, Beholden to Institutional Forces 4. Publishing under Apartheid: OUP in South Africa PART II: IMPACTING AUDIENCES 4. Catharsis, Critical Distance, and Change 5. Spectatorship, community, and 'otherness' 6. Responding to Contemporary Events in an Era of Instant Gratification CONCLUSION: Real Change in the Real World Bibliography Index
List of Illustrations Acknowledgements Introduction: Why Do We Want to Use Theatre to Make Social Change? PART I: IMPACTING PARTICIPANTS 1. Theatre of Good Intentions 2. Participatory Theatre and the Problem of Dominant Discourse 3. Embedded in Institutions, Beholden to Institutional Forces 4. Publishing under Apartheid: OUP in South Africa PART II: IMPACTING AUDIENCES 4. Catharsis, Critical Distance, and Change 5. Spectatorship, community, and 'otherness' 6. Responding to Contemporary Events in an Era of Instant Gratification CONCLUSION: Real Change in the Real World Bibliography Index
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